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
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
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
By Major Lee Moorhouse, Pendleton, Oregon, copyrighted 1905. Published album of reproductions of photographs and brief commentary, relating to tribes of northwestern U. S., including Cayuse, Nez Perce, Umatilla, and Yakima. See also 2nd edition, copyright 1906, in Bureau of American Ethnology Library.
Album page # (1) Portrait of Major Moorhouse. (3) "The Lonely Outpost of a Dying Race" (tipi, with clouds). (5) "Tumwater Falls on the Columbia River". (7) "The Cayuse Twins" A-lom-pum and Tox-e-lox. (9) "The Cayuse Twins". (11-a) "Wal-lu-lah" ("dusky Indian Princess"- doubtful). (11-b) "U-ma-pine"- warrior. (13-a) "Chief Joseph of Nez Perces" (13-b) "Paul Show-a-way, Hereditary Chief of Cayuses". (15) "The Lone Tepee". (17) "Indian Mother and Babe". (19) "Sac-a-ja-wea, Lewis and Clark's Shoshone Indian Guide" (doubtful). (21) "Umatilla Reservation, July 4th, 1905." (23-a) "Tots-homi Good Man". (23-b) "Peo, Chief of Umatillas" (Similar to Bureau of American Ethnology Negative 2890-b-16.) (23-c) "Ip-na-sol-a-tok"-- elderly woman. (Bureau of American Ethnology Negative Cayuse: 3073-b-12). (23-d) "Fish Hawk, Head War Chief of Cayuses" (Bureau of American Ethnology Negative Cayuse: 3073-b-7). (25-a) "Bridge of the Gods" (View of Cascades in Columbia River). (25-b) "Indian camp on Umatilla Reservation near Pendleton, Oregon" (27) "Princess We-a-lote, Cayuse Maiden" (Posed; fake ?) (29) "Mt. Hood, from Cloud Cap Inn."
Album page # (31) "Wa-tis-te-me-ne-head, Man of the Cayuses". (33-a) "Pe-tow-ya/ Cayuse woman who remembers Lewis and Clark" (See Bureau of Anthropology Negative Cayuse: 3073-b-33). (33-b) "Sac-a-je-we-a pointing out the Westward path to Captain Clark" (Re-enacted; fake). (35-a) "Dr Whirlwind" (Umatilla)-- also known as Shap-lish. (See also Bureau of American Ethnology Negative Cayuse: 3073-b-63) (New Smithsonian Institution negative 53508). (35-b) "Princess Etna" (Bureau of American Ethnology Negative Cayuse: 3073-b-35). (35-c) "Donald McKay" (35-d) "Wap-a-ne-ta, the belle of the Umatilla". (39) "Yakima Sally" (Another pose, without hat, is Bureau of American Ethnology Negative Number Yakima: 2880-c-13). (41) "Yakima mother and babe". (43-a) "Stella Tu-slaps, Umatilla Girl". (43-b) "Princess Eat-no-meat" (Bureau of American Ethnology Negative Number Umatilla 2888-c). (43-c) "Scene on Columbia River, Umatilla Junction" (Mostly tipis). (45) "Rosa Summer Hair and papoose". (47) "Sins of the Redman" (Drinking whiskey). (49) "Wo-ho-pum and papoose". (50-a) "Chief Joseph's home at Nespelim" (Bureau of American Ethnology Negative Number 2987-b-4). (50-b) "We-mix, sister of Donald McKay, and family (Bureau of American Ethnology Negative 3073-b-79). (50-c) "Young Chief of the Umatilla".
Contents: Barry, J. Nelson. St Stephen's Parish, Baker City, Oregon. February 22, 1910. 2 pages. Refers to "Wesorts" of southern Maryland. Bowers, George M. United States Commission of Fish and Fisheries, Washington, D.C. September 20, 1899. 2 pages. Concerning the identity of a "stone-piling fish" in the headwaters of the Tennessee River. Clark, Ben. Fort Reno. Oklahoma. February 5, 1906. 2 pages. Concerning the Mormon massacre of 1857, with a newsclipping of the story. Clark, Ben. Fort Reno, Oklahoma. January 16, 1907. 2 pages. Concerning the movements of certain bands of Nez Perce and Cheyenne Indians. Cleveland, R. E. Anadarko, Oklahoma. January 15, 1904. Autograph letter signed with Manuscript notes for reply signed by Mooney. 1 page. Asking value of a Martin Van Buren peace medal. Devitt, E. I. Georgetown University, Washington, D.C. January 7, 1909. 1 page. Concerning the Wesorts of Charles County, Maryland. Grinnell, George Bird. New York, New York. September 7, 1894. 2 pages. Concerning the appearance of the Gros Ventre of the prairie in the northern country. Mention is also made of the Cree names for the Cheyenne. Jackson, R. C. Smithwood, Knox County, Tennessee. August 15, 1890. 3 pages. Concerning life and murder of Cherokee half-blood, Jack Walker. Date of murder given as between 1830 amd 1835.
Jones, Dr Alexander. American Journal of Science and Arts, Volume xxvi, pages 189-190, New Haven, 1834. Concerning "American Gypsies" residing on Biloxi Bay, Louisiana. Typed extract by Mooney from above source, 2 pages. Powell, Major John. Bureau of American Ethnology, Smithsonian Institution, Washington, D.C. June 28, 1893. 3 pages. Concerning request made to the Commissioner of Indian Affairs that the Kiowa Indians be permitted to hold their Medicine Dance to enable the Bureau to study it. Scott, W. L. Fort Sill, Oklahoma. May 11, 1893. 4 pages. Concerning Kiowa tribes' concern over the delegation sent to Washington to represent the tribe. South Carolina Historical Society (Mabel L. Webber). Charleston, South Carolina. March 5, 1919. 3 pages. Concerning enclosed list of Cherokee villages and an account of the "Routes and Distances from Fort Prince to Fort Louden." ("The common route" and the "Route over the four and twenty mountains.") Tatum, Lawrie. Springfield. Iowa. April 7, 1896. 19 pages. Concerning Satanta and the story of the part he took in the raids into Texas in 1870. United States Geological Survey (David Day). Washington, D.C. October 7, 1903. 2 pages. Concerning results of analysis of clay particles submitted by James Mooney. Whatley, L. A., Superindendent of State Penitentiaries. Huntsville, Texas. March 3, 1896. 1 page. Concerning the imprisonment, parole, and suicide of Satanta, the Kiowa Chief.
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
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 depicting Native American baskets and portraits of Native Americans with whom C. Hart Merriam worked, as well as scenic views and images of animals and plants, mostly in California. Many of the photographs were made by Merriam himself or his daughter Zenaida Merriam Talbot. In addition, Merriam collected photographs from other researchers and photographers, including J. S. Diller, John Peabody Harrington, Henry Wetherbee Henshaw, and O. E. Meddaugh. There are also images acquired from the Boysen Studio of Yosemite and photographs of Mark Twain, John Muir, basketmaker Maggie James, and Merriam's family.
Biographical/Historical note:
Clinton Hart Merriam (1855-1942) was a Columbia University-educated physician who worked as a naturalist, including as head of the Biological Survey for the US Department of Agriculture. He joined the Harriman Alaska Expedition as a zoologist in 1899. In 1910, he left the USDA and began to conduct research among California tribes. Financed by Mary W. Harriman and the E. H. Harriman Fund administered by the Smithsonian, he researched tribes' vocabularies, history, mythology, crafts (particularly basketmaking) until about 1936. His resarch was assisted by his daughter, Zenaida, who took photographs and painted glass slides for him. Merriam served as President of the Anthropological Society of Washington in 1920-1921.
Local Call Number(s):
NAA Photo Lot 74-27
General note:
Additional information supplied by Marvin Shodas.
Location of Other Archival Materials:
Merriam's notes held in the National Anthropological Archives in MS 1563 and in the Smithsonian Institution Archives in SIA Acc. 12-264.
Additional photographs by Merriam held in the National Museum of American Indian Archives in the Mary Harriman Rumsey Photograph Collection and the Harriman Alaska Expedition Photograph Collection.
Correspondence from Merriam held in the National Anthropological Archives in MS 4558, the Department of Anthropology records (Manuscript and Pamphlet file), Bureau of American Ethnology records, J.C. Pilling Papers, Ales Hrdlicka Papers, and Jesse Logan Nusbaum Papers.
The Bancroft Library at University of California, Berkeley holds the C. Hart Merriam Papers, C. Hart Merriam Collection of Native American Photographs (prints corresponding to negatives in this collection), and C. Hart Merriam pictorial collection.
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
Copies of photographs depicting Little Powder, an Arapaho chief; High Backbone, a Cheyenne Indian, or Hump, a Sioux Indian married to a Cheyenne woman; Chief Joseph, October 1877; and Squaw Jim, a two-spirit Crow Indian, seated next to a Crow woman.
Biographical/Historical note:
John Hale Fouch (1849-1933) served as the first post photographer at Fort Keogh, Montana Territory, opening his own studio as early as 1877. He photographed Chief Joseph after his surrender and imprisonment and may have been the first to photograph the battlefield at Little Big Horn. He established studios in Minnesota after leaving Montana in the late 1870s and continued his photographic work until about 1900, after which he moved to California and became a real estate agent.
Local Call Number(s):
NAA Photo Lot R92-39
Location of Other Archival Materials:
Additional Fouch photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 87-2P, and Photo Lot 90-1.
The National Museum of the American Indian Archives also holds Fouch photographs in the Nelson Appleton Miles Photograph Collection.
Provenance:
Donated by Dr. James Brust, 1991.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
The photographs are made from originals owned by James Brust. His permission is required before the copy prints can be reproduced.
The General William Nicholson Grier photograph collection contains 10 photographs that Grier collected related to his service with the US Army (1835-1870). The photographs include depictions of Carlisle Indian School students circa 1879-1884 and portraits of the 1868 Navajo Treaty signers.
Scope and Contents:
This collection consists of 10 photographs that were collected by General William Nicholson Grier (1812-1885) related to his service with the US Army (1835-1870). The collection includes 6 photographs of Carlisle Indian School students and visitors that were photographed by photographer John N. Choate circa 1879-1884, and one portrait of Chief Standing Bear (also known as Mochunozhi or Ma-chu-nu-zhe).
The most significant photographs in this collection are three albumen prints shot by Valentin Wolfenstein between March and June 1868. Photograph P20819 depicts an outdoor portrait most likely of the Navajo Treaty signers at Fort Sumner, New Mexico. This photograph is one of only two known photographs depicting this scene (the other copy is at the Peabody Museum of Archaeology and Ethnology).
Biographical / Historical:
William Nicholson Grier was born on June 11, 1812 in Northumberland, Pennsylvania. After graduating from West Point U.S. Military Academy in New York, he served as a Major of the 2nd U.S. Regular Cavalry during the Civil War and later as a Lieutenant Colonel of the 1st U.S. Regular Cavalry. Throughout his 35 year military career, Grier served in a number of capacities. His posts included serving at Fort Carlisle, Pennsylvania from April 1866 to April 1868, where he was Superintendent of Mounted Recruiting Service and was promoted to Colonel of the 3rd Cavalry. He then served as Commander at Fort Union in New Mexico from July 12, 1868 to May 1870. Grier retired on Dec. 15, 1870. He passed away on July 8, 1885 in Napa City, California and was buried in Northumberland, PA.
Between 1863 and 1866, the U.S. Army forced almost 12,000 Diné (Navajo) people from their ancestral homelands and relocated them 400 miles away to Fort Sumner, Bosque Redondo Reservation in New Mexico. On June 1, 1868, General William T. Sherman and Colonel Samuel F. Tappen met in Fort Sumner with Diné (Navajo) leaders led by Chief Barboncito to negotiate a treaty to allow the Diné (Navajo) to return to their ancestral homelands.
Valentin Wolfenstein, a Swedish-American photographer, was at Fort Sumner, New Mexico from March to July of 1868 and photographed the events before and after the Navajo Treaty signing. The Diné (Navajo) set of photographs in this collection have been attributed to many different photographers over the years, but Wolfenstein is believed to be the original photographer. Based on an excerpt from his journal, a few scholars believed that Wolfenstein could have sold his photographic equipment and photographs to Nicholas Brown, and this belief, along with later reprinting of the Barboncito portrait, may have led to some misattribution of Wolfenstein's work to N. Brown and Son and the Browns' work to Wolfenstein.
John Nicholas Choate (1848-1902) was the official photographer of the Carlisle Indian School from the school's founding in 1879 to his death in 1902. The Carlisle Indian School was the first non-reservation government-supported Indian school. Choate sold his photographs as a series of cabinet cards, cartes-de-visite, and stereographs.
It is likely that Grier collected the Diné (Navajo) photographs when he served at Fort Union in New Mexico, immediately following the 1868 Navajo Treaty. Presumably, Grier collected the Carlisle Indian School photographs in this collection after his retirement from the U.S. Army, in connection to his service at Fort Carlisle.
Related Materials:
The Peabody Museum of Archaeology and Ethnology also holds photographs related to the Navajo Treaty signing shot by Valentin Wolfenstein.
The National Anthrolopogical Archives also holds photographs shot by Valentin Wolfenstein and glass plate negatives shot by John N. Choate.
Separated Materials:
Gerneral William Nicholson Grier's grandson Robert C. Campbell also donated objects to NMAI in 1963 (NMAI Catalog numbers 232812-232855). These objects were collected by Grier during his military career.
Provenance:
Collected by General William Nicholson Grier (1812-1885) during his service with the US Army (1835-1870); inherited by his daughter, Anna Grier Campbell (1848-ca. 1915) and then by her son Robert C. Campbell (1891-1966); donated to Museum of the American Indian by Robert C. Campbell in 1963 in memory of his grandfather.
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:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive 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); General William Nicholson Grier collection of photographs, Photograph Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Contents: (a)- 10 numbered legends with text and interlinear translation. 209 pages. (b)- Notebook containing legends, and an article on the "Origin of Shamanism- Animal Worship."
Contents (a)- Vocabulary, 6 pages on printed schedule distributed by George Gibbs, Washington Territory. Original, contains 152 terms. (b)- Copy of vocabulary a, by George Gibbs, 6 pages.
Local Numbers:
NAA MS 681-a-b
General:
Previously titled "Vocabularies."
Topic:
Language and languages -- Documentation Search this
Citation:
Manuscript 681-a-b, National Anthropological Archives, Smithsonian Institution
In schedule of John Wesley Powell's Introduction to the Study of Indian Languages, partly filled. Contains 841 terms. Includes notes on construction of sweat houses; celebration which accompanies the meeting of friendly tribes; construction of wigwams and each individuals place within the structure; (Nez Perce believe the "sweat house" confers mystic powers upon them; arrow shaft straightener not used- they use teeth for that purpose; fish hooks described, and spearing of fish; fish baskets not used- the fish being carried on a twig; standards of value not classifiable among the Nez Perce.
This collection includes prints and photographic negatives collected by Captain Allyn K. Capron. Many of the photographs were taken in the Fort Sill area in Oklahoma throughout Capron's time serving there. While a few of these photographs depict Capron, the majority of the Fort Sill photographs feature Native American prisoners of war. This collection also contains portraits taken by Frank A. Rinehart and Adolph F. Muhr during the 1898 U.S. Indian Congress of the Trans Mississippi and International Exposition in Omaha, Nebraska. In addition, this collection contains rare photographs from a 1900 Niimíipuu (Nez Perce) and Umatilla delegation visit led by Chief Joseph to Washington, DC. Additional assorted photographs, which were collected by Capron and taken among several communities in Nebraska, North Dakota, Oklahoma, Alabama, and Florida by various photographers, are also included.
The communities represented within this collection include the Apsáalooke (Crow/Absaroke), Assiniboine (Stoney), Southern Inunaina (Arapaho), Kiowa, Pikuni (Piegan) [Blackfeet Nation, Browning, Montana], Apache, Chiricahua Apache, Oglala Lakota (Oglala Sioux), Cayuse, Sihasapa Lakota (Blackfoot Sioux), Niimíipuu (Nez Perce), Umatilla, Potawatomi, Warm Springs Chiricahua Apache (New Mexico), Southern Plains, and Hunkpapa Lakota (Hunkpapa Sioux), with a few individuals identified simply as Sioux.
Scope and Contents:
This collection includes photographic prints and negatives collected by Capron and arranged into four series.
Series 1: Fort Sill and surrounding areas, 1885-1896, includes 6 copy negatives and 73 photographic prints. These photographs were taken by George A. Addison (George Anthony Addison), Ella M. Roff (Ellen M. Roff/E. M. Roff), and unknown photographers in Alabama and Oklahoma,in Fort Sill and surrounding areas, between 1885-1896. Some notable scenes include Geronimo and his family, individuals rounding up calves, non-native soldiers, Kiowa tipis, Niuam (Comanche) men shooting bows, the 12th Infantry of Apache Indians, and the Fort Sill Commanding Officers' quarters. Captain Allyn Capron is pictured in a few of the Fort Sill photographs. The indigenous communities depicted include the Southern Plains, Chiricahua Apache, Apache, Warm Springs Chiricahua Apache (New Mexico), Niuam (Comanche), Kiowa, and Potawatomi.
Series 2: Trans-Mississippi and International Exposition, 1898, includes 1 copy negative and 7 photographic prints taken in Omaha, Nebraska by Frank A. Rinehart and Adolph F. Muhr in 1898. The photographs depict scenes from the Indian Congress of the Trans-Mississippi and International Exposition and include portraits of individuals belonging to the Apsáalooke (Crow/Absaroke), Assiniboine (Stoney), Southern Inunaina (Arapaho), Kiowa, Chiricahua Apache, Oglala Lakota (Oglala Sioux) communities, with a few individuals identified only as Sioux. A delegation of Apache prisoners of war, including Geronimo, were brought from Fort Sill to attend the exposition.
Series 3: Assorted Photographs by Various Photographers, 1872-1900, includes includes 1 copy negative and 28 photographic prints taken by Frank A. Rinehart, Adolph F. Muhr, Alexander Gardner, David F. Barry (David Francis Barry/D. F. Barry), and unknown photographers throughout the United States between 1872-1900. This series contains photographs taken among the Sioux, Pikuni (Piegan) [Blackfeet Nation, Browning, Montana], Apache, Chiricahua Apache, Apsáalooke (Crow/Absaroke), Sihasapa Lakota (Blackfoot Sioux), Hunkpapa Lakota (Hunkpapa Sioux), Nimi'ipuu (Nez Perce), Umatilla, Nimi'ipuu (Nez Perce), and Cayuse communities. The locations for the shoots include Nebraska, North Dakota, Oklahoma, Alabama, Florida, and Washington, DC. The subjects of this series include individual portraits, communities, and landscapes, with notable individuals including Naiche (Natchez), Goyathlay (Geronimo), Chief John Grass (Pe-ji or Pah-Zhe), and Theodore Roosevelt.
Series 4: Niimíipuu (Nez Perce) and Umatilla delegation visit to Washington, D.C.,1900, includes 8 rare photographic prints of a joint Niimíipuu (Nez Perce) and Umatilla delegation visit to Washington, D.C. in 1900. The delegates appearing in this series includes Cayuse delegate Chief Paul Showaway and Niimíipuu (Nez Perce) delegates Chief Joseph (Hin-mah-too-yah-lat-kekt), Stephen J. Reuben, and Chief Peo Peo Tholekt (Peopeotahlikt/Peo Peo T'olikt/Peo-Peo-Ta-Lakt/George Peo-peo-tah-likt/Bird Alighting). Stephen J. Reuben was Chief Joseph's nephew, and acted as an interpreter for this visit. This series was possibly photographed outside of 1111 Masachussets Avenue, Washington, D.C. Additional identifications were provided by Nakia Williamson-Cloud, Nez Perce Tribe Cultural Resource Program, 2003.
Copy negatives include N21545, N37515-N37518, N41416, N41418, N41459. Photographic prints include P13092-P13095, P13097, P3101-P13203.
Arrangement:
Arranged intellectually into four series. Series 1: Fort Sill and surrounding areas, 1885-1896; Series 2: Trans-Mississippi International Exposition, 1898; Series 3: Assorted Photographs by Various Photographers, 1872-1900; Series 4: Niimíipuu (Nez Perce) and Umatilla delegation visit to Washington, D.C., 1900.
Biographical / Historical:
Captain Allyn K. Capron, a graduate of West Point, was a Rough Rider who served as Lieutenant and Captain in the U.S. Army. In 1886, Geronimo and 341 other Chiricahua Apache prisoners of war were captured and brought to Fort Sill in Oklahoma. It was here that Capron served under Hugh L. Scott, who was in charge of Geronimo's band of Apache Indians from 1894 to 1897. As a lieutenant, between 1895-1896, Capron commanded Troop L of the Seventh Cavalry, U.S.A at Fort Sill; this unit consisted entirely of Apache Indians. He was in charge also of Geronimo, whom he often quoted within his letters written from Fort Sill. Capron died from the effects of exposure during the Spanish American War in 1898.
Provenance:
Gift of Agness Kissam Capron, wife of Captain Allyn Capron, 1938.
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); Captain Allyn Capron photograph collection, image #, NMAI.AC.152; National Museum of the American Indian Archives Center, Smithsonian Institution.
