The collection consists of three (3) paintings collected by Neil Judd in the mid to late 1930s. There are two paintings by Harrison Begay and one painting by Louis Naranjo.
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 As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today.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.
Biographical Note:
Louis Naranjo (1932-1997) was a Cochiti Pueblo artist best known for his figurative pottery.
Harrison Begay, also known as Haashké yah Níyá (meaning "Warrior Who Walked Up to His Enemy") (1914 or 1917-2012) was a Diné (Navajo) painter, printmaker, and illustrator specializing in watercolors, gouache, and silkscreen prints.
Provenance:
The collection was donated to the National Anthropological Archives by Neil Judd in 1974.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Paintings
Works of art
Citation:
MS 1974-40 Harrison Begay and Louis Naranjo paintings
This collection contains 46 gelatin silver and albumen prints that depict the southwest Indigenous peoples and landscapes from around 1880-1914.
Scope and Contents:
This collection contains 46 gelatin/albumen silver prints that were in the collection of Douglas D. Graham. The photographs represent portraits and landscapes of the southwest around 1880-1914. Some photographs were taken by Ben Wittick (6), John K. Hillers (2), and Colonel Frank. C. Churchill (1).
Arrangement:
Arranged in folders by print catalog number.
Biographical / Historical:
Douglas D. Graham was born in New York in 1849 and died in 1914. Graham was a U.S. Indian Agent at Zuni, New Mexico from 1870 to about 1906. During this time, he was also a teacher and superintendent at a local school.
Provenance:
This collection was donated to the Museum of the American Indian (MAI) in 1959 by Graham's nieces: Evelyn Brinckerhoff Lent (Mrs. Ward S. Lent, 1890-1970); Heloise Graham Brinckerhoff Oman (Mrs. Charles M. Oman, 1885-1966); Beatrice Brinckerhoff Young (Mrs. Alexander M. Young, 1895-1973); and Mary Franklin Brinckerhoff Van Houten (Mrs. John M. Van Houten, 1894-1964).
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.
Citation:
Identification of specific item; Date (if known); Douglas D. Graham photographs of the Southwest, image #, NMAI.AC.313; National Museum of the American Indian Archives Center, Smithsonian Institution.
This collection consists of 145 postcards and 11 photographs depicting Indigenous peoples of the Americas, with dates ranging 1890 – 1930s. The bulk of the collection consists of postcards of Native communities throughout the United States, and includes portrait images, dwellings, basket-making, weaving, and crafts.
Scope and Contents:
The Dale Jenkins postcard and photograph collection consists of 145 postcards and 11 photographs with dates ranging 1890 – 1930s. The images depict Indigenous peoples of the Americas, and spans a large geographical breadth extending from the Arctic in the north to Chile and Peru in South America. The bulk of the collection consists of postcards of Native communities throughout the United States, with a significant number of images depicting various Pueblo and Southwest cultural groups; many of these latter postcards were produced by the Fred Harvey Company. A number of the postcards and photographs include portrait images, dwellings, basket-making, weaving, and crafts. Also of particular note are 13 scenes of daily life at a number of different Indian Boarding Schools at the turn of the twentieth century. Finally, in addition to the postcard images are 11 photographs consisting of cabinet cards and other photographic prints.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into 11 series, organized thematically (Indian Boarding Schools) and then regionally by location or culture group. Series 1: Indian Boarding Schools, Series 2: Arctic/Subarctic, Series 3: Northwest Coast,
Series 4: California, Series 5: Great Basin/Plateau, Series 6: Southwest, Series 7: Plains, Series 8: Northeast/Great Lakes, Series 9: Southeast, Series 10: Mexico/Central America, Series 11: South America
Biographical / Historical:
Dale Jenkins is a retired Financial Planner living in California, having previously worked in the Aerospace industry. He has collected late-nineteenth- and early-twentieth-century American photographs and postcards for over 30 years. In addition to archival collections donated to the Smithsonian Institution's National Museum of the American Indian, Jenkins has also donated postcard and photograph collections to the California Museum of Photography, the California Historical Society, and the Museum of the City of New York.
Provenance:
This collection was donated by Dale Jenkins in 2013 and 2014.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 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 Archives Center's Digital Image request website.
Indians of Central America -- Guatemala Search this
Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 45 postcards and 6 photographic prints. The images include depictions of activities such as weaving, basket making, pottery making, bread-baking, and selling crafts. Communities represented include Acoma Pueblo, Akimel O'odham (Pima), A:shiwi (Zuni), Chimayo, Cochiti Pueblo, Diné (Navajo), Havasupai (Coconino), Hopi Pueblo, Hualapai (Walapai), K'apovi (Santa Clara Pueblo), Laguna Pueblo, Mojave (Mohave), Tesuque Pueblo, and Tohono O'odham (Papago). The only individual specifically identified is Elle of Ganado [Diné (Navajo)], a well-known and celebrated weaver of the time. A large number of these postcards were produced by the Fred Harvey Company which partnered with the Santa Fe Railroad in the early 20th century to generate tourism in the American Southwest.
Collection Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection 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 Archives Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
Dorothy Gutierrez (Corn Maiden), Diné (Navajo)/K'apovi (Santa Clara Pueblo), b. 1940 and Paul Gutierrez (White Corn), K'apovi (Santa Clara Pueblo), b. 1936 Search this
Eastern Band of Cherokee Indians of North Carolina
Date:
1932-1958
Summary:
These are the papers of Washington, D.C. attorney James E. Curry, whose legal career included work both as a government attorney and in his own private practice. The bulk of the papers reflect his private practice in the area of Indian affairs.
Scope and Contents:
The material in the collection includes documents relating to many aspects of Curry's career but most of it relates to his work with Indian tribes and the National Congress of American Indians. For the most, the collection is made up of such materials as letters exchanged with government officials, Indians, and other attorneys; copies of legal documents; published government documents; notes; and clippings and other printed materials. Of particular significance is a subject file relating to Indian affairs. It includes material concerning affairs of Alaskan natives and the Aleut (Akutan, Pribilof Islands), Apache (including Fort Sill, Jicarilla, Mescalero, San Carlos White Mountain), Arapaho (Southern), Assiniboine (Fort Belknap, Fort Peck), Bannock (including Fort Hall), Blackfeet, Caddo, Catawba, Cherokee (Eastern), Cheyenne (Northern, Southern), Chickahominy, Chickasaw, Chippewa (including Lac Courte Oreilles), Choctaw, Cochiti, Cocopa, Coeur d'Alene, Colville, Comanche, Creek, Croatan, Crow, Dakota (Big Foot, Cheyenne River, Crow Creek, Devil's Lake, Flandreau, Fort Totten, Lower Brule, Mdewakanton, Oglala, Rosebud, Santee, Sisseton-Wahpeton, Standing Rock, Yankton), Delaware, Eskimo (including Gambell, Kiana), Flathead, Fox, Haida (including Kasaan), Havasupai, Hopi, Iroquois (Caughnawaga, Seneca, St. Regis), Isleta, Jemez, Kalilspel, Kansa (Kaw), Kickapoo, Kiowa, Klamath, Kutenai, Laguna, Lummi, Maricopa (Gila River, Salt River), Menominee, Missouria, Mohave (Fort Mohave), Mohave Apache (Fort McDowell), Muckleshoot, Navaho, Nez Perce, Niska, Nooksak, Omaha, Osage, Oto, Papago, Paiute (Fallon, Fort McDermitt), Moapa, Pyramid Lake, Shivwits, Walker River, Yerington), Pima (Gila River, Salt River), Potowatomi, Quinaielt, San Felipe, San Ildefonso, San Juan, Santa Ana, Santa Clara, Sandia, Sauk, Seminole (Florida, Oklahoma), Seneca, Seri, Shawnee (Eastern), Shoshoni (including Fort Hall), Sia, Spokan, Stockbridge, Taos (Pyote clan), Tesuque, Three Affiliated Tribes (Mandan, Arikara, and Hidatsa), Tillamook, Tlingit (including Angoon, Craig, Juneau, Kake, Ketchikan, Klawak, Klukwan, Taku, Wrangell), Tsimshian (Metlakatla), Umatilla, Ute (including Uintah-Ouray), Walapai, Washo, Wesort, Winnebago, Wyandot, Yakima, Yaqui, Yavapai, Yuma, and Zuni. There are also materials relating to Curry's work with the Bureau of Indian Affairs and National Congress of American Indians, and material that reflects his interest in conditions and events in given locations (often filed by state) and in organizations with interest in Indians. The material relating to Curry's work in Puerto Rico has been deposited in the Archivo General de Puerto Rico, Instituto de Cultura Puertorriquena, in San Juan.
Arrangement note:
The James E. Curry Papershave been arranged into 6 series: (1) Daily Chronological Files, 1941-1955; (2) Subject Files Regarding Indian Affairs, bulk 1935-1955; (3) Miscellaneous Files Regarding Indian Affairs, bulk 1947-1953; (4) Non-Indian Affairs, n.d.; (5) Puerto Rico Work, 1941-1947; (6) Miscellany, undated.
Biographical/Historical note:
James E. Curry was trained in law in Chicago and practiced in that city from 1930 until 1936, serving part of that time as secretary of the local branch of the American Civil Liberties Union. From 1936 to 1938, he was an attorney with the United States Department of the Interior Bureau of Indian Affairs, being largely involved with matters of credit affecting Indians. From 1938 to 1942, he continued service with the Interior Department but worked in several capacities involving the Puerto Rico Reconstruction Administration, the department's Consumers' Counsel Division, and the Puerto Rico Water Resources Authority.
In 1945, Curry returned to Washington and set up private practice, also maintaining for a time an office in Puerto Rico. In Washington, he became the attorney for the National Congress of American Indians and from that time until the 1950s his practice increasingly involved representation of American Indian tribes, mostly in claims against the federal government. In this work, for a time, he was involved in business relations with a New York Law firm that included Henry Cohen, Felix Cohen, and Jonathan Bingham.
He also often worked closely with lawyers who lived near the tribes he represented, William L. Paul, Jr., of Alaska, for example. This aspect of his practice--representing Indian tribes--was largely broken up during the early 1950s when the Commissioner of Indian Affairs began to use his powers to disapprove contracts between Curry and the tribes. In 1952 and 1953, his official relationship with the National Congress of American Indians was also ended. After this, while Curry continued until his death to act as a consultant in Indian claims with which he had earlier been involved, his career and life developed in a different direction.
Related Materials:
Additional material relating to James E. Curry can be found in the records of the National Congress of American Indians, also located at the National Museum of the American Indian Archive Center.
Provenance:
The Curry papers were originally donated to the National Anthropological Archives by James E. Curry's daughter Mrs. Aileen Curry-Cloonan in December 1973. In 2007 The Curry papers were transferred from the National Anthropological Archives to the National Museum of the American Indian Archive Center along with several other records concerning American Indian law and political rights.
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 broadbast 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.
Genre/Form:
Notes
Letters
Clippings
Legal documents
Citation:
Identification of specific item; Date (if known); James E. Curry papers, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection includes 47 photographic prints made by German born photographer Rolf Tietgens in 1933-1934 and 1940-1944 on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico. Communities photographed in South Dakota include the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux). Communities photographed in Arizona and New Mexico include—Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache.
Scope and Contents:
This collection includes 47 photographic prints made by German born photographer Rolf Tietgens on a brief trip to the United States in 1933-1934 and in 1940-1944 after moving permanently to New York. Some of the photographs that were made on his 1933-1934 trip were later published in a 1936 book called Die Regentrommel (The Rain Drum).
The photographs include outdoor portraits and landscape views on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico These were shot among the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux) communities in South Dakota and among the Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache in Arizona and New Mexico. One of the more famous portraits includes an image of Chief Blackhorn (Tahe Sapa/Hah-Sah-Pah/Black Horn) [Sicangu Lakota (Brulé Sioux)], likely shot in 1941. Many of the portraits remain unidentified.
Many the photographs depict ceremonial dances and have been restricted due to cultural sensitivity. There are also several duplicate images within the collection.
Catalog numbers include P23663-P23709.
Arrangement:
Arranged by catalog number.
Biographical / Historical:
Rolf Tietgens was born in Hamburg, Germany in 1911. In 1933 Tietgens first visited the United States, where he made a series of photographs of Native Americans, published in Germany as a book, Die Regentrommel (The Rain Drum), in 1936. As a filmmaking student in Berlin, Tietgens worked for Leni Riefenstahl as a cameraman on Olympia (1936). He then moved to New York, where he opened his own photography studio (1938). His work was featured in "Photographing New York City," an exhibition of Photo League photographers at the New School for Social Research in 1939. Despite his successful career as a photographer for numerous American magazines, Tietgens was interred as an enemy alien in Santa Fe, New Mexico, in 1942–43, during World War II. Naturalized in 1944, he continued to work as a commercial photographer through the fifties until 1964 when he began a second career as a painter, a pursuit that he followed until his death in 1984.
Provenance:
Bequest of Rolf Tietgens, 1985 [P23675-P23709] and gift of Keith De Lellis, 1987 [P23663-P23674].
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).
Some photographs restricted due to cultural sensitivity.
Rights:
NMAI does not own the copyright to these photographs. Permission to publish will need to be acquired from the Estate.
Genre/Form:
Photographic prints
Citation:
Identification of specific item; Date (if known); Rolf Tietgens photographs, image #, NMAI.AC.336; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series includes photographic negatives from S.K. Lothrop's first field experience in archaeology the summer of 1915 under the direction of A.V. Kidder through the R.S. Peabody Foundation of Andover. This includes photographs in the Southwest at the San Cristobal Pueblo ruins, A:shiwi (Zuni) Pueblo, Acoma Pueblo, K'apovi (Santa Clara Pueblo) in New Mexico and at various locations at Hopi Pueblo, Arizona. There are also photographs of Bird Effigy Mound and Panther Effigy in Lake Mendota, Wisconsin, also made in 1915.
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).
Collection 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.
There are photographs in this collection that are restricted due to cultural sensitivity.
Collection Citation:
Identification of specific item; Date (if known); Samuel K. Lothrop photograph collection, NMAI.AC.001.010. National Museum of the American Indian Archives Center, Smithsonian Institution.
The Samuel K. Lothrop photograph collection primarily contains negatives, photographic prints, and lantern slides made by Lothrop while employed by the Museum of the American Indian, Heye Foundation from 1924-1930. Lothrop was an archaeologist and photographer who extensively traveled and worked throughout Central America and South America and led expeditions on behalf of the MAI to Argentina, Chile, El Salvador, Guatemala, and Peru. There are also photographs from prior to Lothrop's time at MAI that were made in other locations in Central America, Puerto Rico, New Mexico, Arizona, and Wisconsin between 1915 and 1918.
Scope and Contents:
The Samuel K. Lothrop collection primarily contains negatives, photographic prints, and lantern slides made by Lothrop while employed by the Museum of the American Indian, Heye Foundation from 1924-1930. There are also photographs from prior to Lothrop's time at MAI that were made in other locations in Central America, Puerto Rico, New Mexico, Arizona, and Wisconsin between 1915 and 1918.
Series 1: Non-MAI Expeditions to Wisconsin and the Southwest, United States, 1915, includes photographic negatives from S.K. Lothrop's first field experience in archaeology the summer of 1915 under the direction of A.V. Kidder through the R.S. Peabody Foundation of Andover. This includes photographs in the Southwest at the San Cristobal Pueblo ruins, A:shiwi (Zuni) Pueblo, Acoma Pueblo, K'apovi (Santa Clara Pueblo) in New Mexico and at various locations at Hopi Pueblo, Arizona. There are also photographs of Bird Effigy Mound and Panther Effigy in Lake Mendota, Wisconsin, also made in 1915.
Series 2: Non-MAI Expeditions to Central America and Puerto Rico, circa 1915-1918, includes photographic negatives and lantern slides from Lothrop's time as Director of the Harvard Peabody Museum's Central American,1916-1917. Some of the photographs in this series are listed as 1918, though during that time Lothrop was working for the U.S. Army Military Intelligence. It's also possible that the photographs from Puerto Rico, which are cataloged as 1918 were taken during a 1915 trip to the island. The photographs in this series include views from Costa Rica, Panama, Honduras, El Salvador, Nicaragua, Guatemala, and Puerto Rico.
Series 3: MAI Central American Expedition to El Salvador, 1924, includes photographs from the "S.K. Lothrop Central American Expedition" between January and May 1924. The majority of the photographs were made in El Salvador, though a small amount were taken in Guatemala. The photographs in EL Salvador include photographs of volcanos, archaeological sites, antiquities, landscape views, villages, and native peoples, such as the Lenca, engaged in pottery and rope making, food preparation, house building, and ceremonial activities.
Series 4: MAI Tierra del Fuego Expedition, 1924-1925, includes photographs from the "MAI Tierra del Fuego Expedition" between October 1924 and March, 1925. Lothrop, accompanied by J. Linzee Weld, spent three months on the Islands of Tierra del Fuego (Chile, Argentina) visiting Selk'nam (Ona) and Yámana (Yagán/Yahgan) settlements. The three Selk'nam (Ona) settlements included one at the Southeast corner of Lake Fagnano, one at the Northeast of Lake Fagnano and the third east of the Laguna de Pescados. Yámana (Yagán/Yahgan) settlements were encountered at Tierra Mayor, Cambaceres Bay, Gable island and Puerto Mejillones on Navarin Island. The photographs include depictions of the daily live and ceremonial activities of the Native peoples, as well as landscape views. Also included in this series are photographic negatives made in Peru sometime in 1925 during Lothrop's trip in South America. These include images in Incahuasi and La Centinela, among other locations.
Series 5: MAI La Plata Expedition (Paraná River Delta Argentina Expedition), 1925, includes photographic negatives from the "Mrs. Thea Heye, La Plata Expedition" also known as the "Thea Heye - Lothrop Paraná River Delta Argentina Expedition" between March and June 1925. The expedition was conducted jointly between the Museum of the American Indian, Heye Foundation and the Museo de la Plata in Argentina (Argentine Republic). Excavations were made in the Río Paraná Delta in the Province of Buenos Aires, Argentina. Many of the photographs show views of the river as well as views of the excavation site including mounds and trenches. There are a number of restricted photographs in this series due to cultural sensitivity.
Series 6: MAI Guatemala Expedition, 1928, includes photographic negatives from the "Mrs. Thea Heye Guatemala Expedition" between February and May 1928. Many of the photographs include depictions of Mayan ruins in different Guatemalan provinces. There are also photographs of Tz'utuhil Maya (Tzutuhil/Zutigil), K'iche' (Quiché) Maya, and Kaqchikel Maya (Cakchiquel) people engaged in weaving, rope making, canoeing, and ceremonial activities. There are a number of restricted photographs in this series due to cultural sensitivity.
Arrangement note:
This collection has been arranged in six Series chronologically by expedition.
Series 1: Non-MAI Expeditions to Wisconsin and the Southwest, United States, 1915
Series 2: Non-MAI Expeditions to Central America and Puerto Rico, circa 1915-1918
Series 3: MAI Central American Expedition to El Salvador, 1924
Series 4: MAI Tierra del Fuego Expedition, 1924-1925
Series 5: MAI La Plata Expedition (Paraná River Delta Argentina Expedition), 1925
Samuel Kirkland Lothrop was born in Milton, Massachusetts on July 6, 1892, to William Sturgis Hooper Lothrop and Alice Putnam Lothrop. Lothrop spent his childhood in Massachusetts and Puerto Rico and entered Harvard college in 1911. He graduated in 1915 with a concentration in archaeology and anthropology having studied under Alfred Marston Tozzer. Lothrop had his first field experience in archaeology the summer of 1915 under the direction of A.V. Kidder through the R.S. Peabody Foundation of Andover, spending time in the Southwest as well as studying mounds in Wisconsin. Lothrop also traveled extensively in Central American and in Puerto Rico as an associate of the Peabody Museum of Harvard, visiting sites and making small excavations. During World War I, Lothrop's career was interrupted when he served as a second lieutenant in the U.S. Army Military Intelligence between 1917-1918. Following the war, Lothrop returned to graduate work at Harvard and his thesis, submitted in 1921, was focused on the ceramics of Costa Rica and Nicaragua.
Lothrop was then employed by the Carnegie Institution's Historical Division to make field investigations in Yucatan and Guatemala in 1923. His 1924 publication on the Yucatan ruin of Tulum was the first major monograph published on the subject. Starting in 1923, with the Hendricks-Hodge Hawikku (Hawikuh) expedition, Lothrop joined the research staff of the Museum of the American Indian, Heye Foundation (MAI) in New York City. Though George Gustav Heye originally hired Lothrop to research Native Guatemalan and El Salvadoran textiles and pottery, Lothrop also led several expeditions in South America in such places as Tierra del Fuego. During this period, Lothrop became a good friend of Argentine archaeologists at the time such as Fernando Marquez Miranda and published several monographs on his research. Following the dissolution of the MAI's research staff in 1930, Lothrop returned to Harvard's Peabody Museum as a research associate and curator of Andean archaeology until his retirement. Lothrop continued in an active emeritus status until his death in 1965.
Source: Willey, Gordon R. "Samuel Kirkland Lothrop," Biographical Memoirs: Volume 48, pp 253-272. National Academies Press, 1976.
Related Materials:
Samuel K. Lothrop papers (996-20), Peabody Museum Archives. https://hollisarchives.lib.harvard.edu/repositories/6/resources/4764
Lothrop, S.K. Chile field notes and diary about the Indian of Chile, 1929-1930, #9055. Division of Rare and Manuscript Collections, Cornell University Library.
Separated Materials:
Photographs that were made by S.K. Lothrop during the Hendricks-Hodge Hawikku (Hawikuh) expedition are included in the Hendricks-Hodge Hawikku Expedition photograph collection, NMAI.AC.001.042.
Catalogs and expense records for Lothrop's expeditions can be found in the Museum of the American Indian, Heye Foundation records, NMAI.AC.001, in Series 5: Expeditions.
Provenance:
The photographs produced during Museum of the American Indian expeditions were sent to the MAI by Samuel K. Lothrop, alongside field collections, between 1924 and 1930. The photographs that were made by Lothrop prior to his employment at MAI were donated by Lothrop in 1930.
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.
There are photographs in this collection that are restricted due to cultural sensitivity.
Topic:
Indians of Central America -- Guatemala -- Photographs Search this
Indians of Central America -- El Salvador -- Photographs Search this
Fuegians -- Social life and customs -- Photographs Search this
Excavations (Archaeology) -- Argentina -- Photographs Search this
Genre/Form:
Lantern slides
Photographs
Negatives
Photographic prints
Citation:
Identification of specific item; Date (if known); Samuel K. Lothrop photograph collection, NMAI.AC.001.010. National Museum of the American Indian Archives Center, Smithsonian Institution.
An interview of Jody Naranjo Folwell-Turipa conducted 2011 November 10, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Folwell-Turipa's home and studio, in Santa Clara Pueblo, N.M.
Biographical / Historical:
Jody Naranjo Folwell-Turipa (1942- ) (Santa Clara Pueblo/Tewa) is a potter in Santa Clara Pueblo, N.M. Mija Riedel (1958- ) is an independent scholar in San Francisco, California.
General:
Originally recorded as 5 sound files. Duration is 3 hr., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
The Peter Dechert photographs of Pueblo Artists collection contains 412 negatives, 33 contact sheets, and 70 photographs documenting many Native artists of the American Southwest circa 1970-1976.
Scope and Contents:
The Peter Dechert photographs of Pueblo Artists collection contains 412 negatives, 33 contact sheets, and 70 photographs documenting many Native artists of the American Southwest. The photographs were shot by photographer Peter Dechert, circa 1970-1976. The photographs depict artists working in their studios and homes, as well as portraits of them with finished artwork. The photographs offer a behind-the-scenes look at artists and their artistic practices.
Artists documented in this collection include:
Lois Gutierrez de la Cruz (Lois Gutierrez) [Pojoaque Pueblo/K'apovi (Santa Clara Pueblo)]
Derek de la Cruz [K'apovi (Santa Clara Pueblo)]
Gloria Garcia (Goldenrod) [K'apovi (Santa Clara Pueblo)/Pojoaque Pueblo]
John D. Garcia [K'apovi (Santa Clara Pueblo)]
Jason Garcia (Okuu Pin) [Santa Clara Pueblo]
Popovi Da (Tony Martinez) [San Ildefonso Pueblo]
Blue Corn (Crucita Gonzales Calabaza) [San Ildefonso Pueblo]
Ramoncita Sandoval (Ramoncita Cruz) [Ohkay Owingeh (San Juan Pueblo)]
Santiago Quintana (Cochiti Pueblo)
Minnie Vigil [K'apovi (Santa Clara Pueblo)]
Stella Shutiva (Acoma Pueblo)
Pula Gutierrez [K'apovi (Santa Clara Pueblo)]
Val Gutierrez [K'apovi (Santa Clara Pueblo)]
Arrangement:
Photographs arranged by artists and material type (negatives, contact sheets, and prints).
Biographical / Historical:
Biography from the Peter Dechert's obituary published in the Santa Fe New Mexican on Dec. 27, 2016. It has been edited to fit this finding aid:
Peter Dechert, photojournalist and jazz musician, was born in 1924 in Philadelphia, PA. He was a graduate of the Los Alamos Ranch School (1941) and the University of Pennsylvania (BA 1948, MA 1950, PhD 1955). He also attended the Lawrenceville School and Episcopal Academy. A veteran of World War II, Dechert served in the 69th Infantry Division in France, Belgium, and Germany. While he was Staff Sergeant, Chief of Division Artillery Survey Section, his section was cited as the best of its kind in the US Army (1944). He was later appointed to Division Artillery Headquarters Intelligence. Peter taught himself photographic and darkroom techniques in his pre-teen years, and published his first photograph in Leica Magazine at the age of 15. Peter's photographs have been shown in a variety of gallery settings as well, from the Museum of Modern Art in New York to his own Camera West gallery in Santa Fe. During his time with the School of American Research (now SAR) he studied innovative techniques for using photography in archaeological research, including oblique aerial photography. He contributed a section on Communication, Photography, and the Archaeologist to SAR's publication Photography in Archaeological Research. As founder of the Southwest Foundation for Audiovisual Resources, he documented many Indian artists at work. An internationally-renowned expert in camera history, he was best known for his books Canon Rangefinder Cameras 1933-68 and Olympus Pen Single Lens Reflex Cameras. In all, he wrote 5 books and several hundred articles on cameras and camera equipment. He loved poetry, taught modern American poetry at the University of Pennsylvania, and wrote many poems of his own. He served as the first President of the New Mexico Poetry Society. His poems have appeared in numerous anthologies and publications, including New Mexico Magazine, Sunstone Review, The American Pen, The American Bard, and more. Peter believed strongly in contributing to his community. During his years as President of the St. Vincent Hospital Foundation he raised funds for Santa Fe's first cancer treatment center. Peter passed away in Santa Fe, NM in 2016.
Related Materials:
Other collections of Peter Dechert photographs reside at the New Mexico History Museum.
Provenance:
Gift of Caroline Dechert, 2023.
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.
Citation:
Identification of specific item; Date (if known); Peter Dechert photographs of Pueblo Artists, image #, NMAI.AC.440; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 48 negatives, 4 contact sheets, and 16 photographs, depicting K'apovi (Santa Clara Pueblo) artists Pula Gutierrez and Val Gutierrez. The photographs were shot by Peter Dechert circa 1975. The photographs depict Pula and Val Gutierrez working on pottery indoors.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Peter Dechert photographs of Pueblo Artists, image #, NMAI.AC.440; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 37 negatives, 3 contact sheets, and 14 photographs depicting potters Lois Gutierrez de la Cruz (Lois Gutierrez) [Pojoaque Pueblo/K'apovi (Santa Clara Pueblo)] and Derek Sandoval de la Cruz [K'apovi (Santa Clara Pueblo)]. The photographs were shot by Peter Dechert on August 3, 1975. The images depict Lois and Derek at work creating pottery and outdoor portraits of them with finished works.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Peter Dechert photographs of Pueblo Artists, image #, NMAI.AC.440; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 36 negatives, 3 contact sheets, and 10 photographs depicting potter Gloria Garcia (Goldenrod) [K'apovi (Santa Clara Pueblo)/Pojoaque Pueblo] and artist John D. Garcia [K'apovi (Santa Clara Pueblo)]. The photographs were shot by Peter Dechert on August 10, 1975. The images depict Gloria and John working on their artwork, as well as outdoor portraits with their sons Jason Garcia (Okuu Pin) and John David Garcia, Jr. and Gloria's sister and brother-in-law Lois and Derek de la Cruz. This series also includes a flyer and newspaper related to Jason Garcia's artwork.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Peter Dechert photographs of Pueblo Artists, image #, NMAI.AC.440; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 36 negatives, 3 contact sheets, and 5 photographs depicting K'apovi (Santa Clara Pueblo) artist Minnie Virgil (b. 1931). The photographs were shot by Peter Dechert in August 1975 and depict Minnie working on pottery, as well as posing with finished works.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Peter Dechert photographs of Pueblo Artists, image #, NMAI.AC.440; National Museum of the American Indian Archives Center, Smithsonian Institution.
