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.
Indians of North America -- Southern states Search this
Citation:
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
This collection includes 40 copy prints of David F. Barry photographs which had been held by David Barry's sister, Matie (Barry) Moore. These were later copied by her brother-in-law Herbert O. Petersen. The copy prints include many of Barry's most famous portraits of Lakota leaders from at the end of the 19th century such as Tatanka Iyotanka (Sitting Bull) [Hunkpapa Lakota (Hunkpapa Sioux)], Rain in the Face (Iromagaja/Ito-na-gaju/Ite-Mahazhu/I-Te-Amaghazhu/Exa-ma-gozua) [Hunkpapa Lakota (Hunkpapa Sioux)], and Chief Gall (Pizi) [Oglala Lakota (Oglala Sioux)], among others.
Scope and Contents:
This collection includes 40 copy prints of David F. Barry photographs which had been held by David Barry's sister, Matie Barry Moore. It is likely that some of the photographs were originally shot by Orlando Scott Goff and later attributed to Barry, who may have printed them at a later date. The studio portraits of Native leaders include—Tatanka Iyotanka (Sitting Bull) [Hunkpapa Lakota (Hunkpapa Sioux)], Rain in the Face (Iromagaja/Ito-na-gaju/Ite-Mahazhu/I-Te-Amaghazhu/Exa-ma-gozua) [Hunkpapa Lakota (Hunkpapa Sioux)], Chief Gall (Pizi) [Oglala Lakota (Oglala Sioux)], Chief John Grass (Charging Bear/Mato-Wata-Kpe/Pah-zhe/Matowatakpe/Pehzi/Pe-ji/Used As A Shield), [Sihasapa Lakota (Blackfoot Sioux)], Chief Joseph (Hinmuuttu-yalatlat [Thunder Rolling Down the Mountain]/In Mut Too Yah Lat Lat) [Niimíipuu (Nez Perce)], Chief Goose (Goos) [Ihanktonwan Nakota (Yankton Sioux)], Curley (Ashishishe) [Apsáalooke (Crow/Absaroke)], Red Cloud (Makhpiya-luta [Scarlet Cloud]/Mahpina Luta) [Oglala Lakota (Oglala Sioux)], Crow King (Kangi-yatapi/Ka-Ge-Tou-Cha) [Hunkpapa Lakota (Hunkpapa Sioux)], Chief Wild Horse [Oglala Lakota (Oglala Sioux)], and Good Horse with his wife [Hunkpapa Lakota (Hunkpapa Sioux)].
Additional non-Native portraits include—Lt. Col. George Armstrong Custer, General F.W. Bentun, Captain Tom McDougal, Col. William F. Cody ("Buffalo Bill"), Matie Barry Moore, and Judge Kenshaw Landis. There are also a number of outdoor shots made in Dakota territory which include views of Sitting Bull's log cabin, Sitting Bull's camp, census taking on the Standing Rock reservation, Reno Crossing and Fort Lincoln in the snow. There is also an image of Barry's studio set up in Fort Buford. One image has been restricted due to cultural sensitivity.
Prints include catalog numbers P23561 - P23599.
Arrangement:
Arranged by catalog number.
Biographical / Historical:
David Frances Barry (1854-1934) was a photographer who is most noted for his photographs of famous Native American leaders at the end of the 19th century. Growing up in Columbus, Wisconsin, Barry was hired by photographer Orlando Scott Goff, with whom he eventually partnered. From 1878 to 1883, Barry traversed Dakota Territory and Montana making many of his most widely known photographs of Native American leaders, such as Sitting Bull, Rain in the Face, and Chief Gall, as well as photographing forts and battlefields, military officers, and other people in the region. In 1883, Barry opened a new studio in Bismarck, where he began photographing members of Cody's Wild West Show. In 1890, Barry returned to Wisconsin where he operated a successful gallery in the city of Superior until his death in 1934.
Barry's sister, Matie (Barry) Moore, retained a collection of photographs made by her brother which were eventually copied and donated to the National Museum of the American Indian.
Separated Materials:
A folder of newspaper clippings regarding the life and work of David F. Barry were donated by Herbert Petersen along with the photographic prints. These are in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001) in Box 289, Folder 1.
Provenance:
Donated by Herbert O. Petersen, brother-in-law to Matie Barry Moore, in 1991. Matie Barry Moore was sister to the photographer David F. Barry.
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); Matie Barry Moore collection of David F. Barry copy prints, image #, NMAI.AC.334; National Museum of the American Indian Archives Center, Smithsonian Institution.
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Tintypes
Chromolithographs
Lithographs
Prints
Pages
Photographs
Newspapers
Woodcuts
Place:
Mexico
Taos Pueblo (N.M.)
California
Oregon
Fort Davis (Tex.)
New Mexico
Fort Snelling (Minn.)
Arizona
Texas
San Juan Pueblo (N.M.)
Zuni (N.M.)
Kansas
Colorado
Date:
circa 1863-1900
Summary:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
Scope and Contents:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.
Biographical Note:
James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).
Local Call Number(s):
NAA Photo Lot 4605
Related Materials:
The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.
Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.
Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.
Pywell photographs held in National Anthropological Archives Photo Lot 4498.
O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.
Provenance:
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.
The collection is largely composed of photographs depicting Plains Indians, many of whom took part in the Battle of the Little Bighorn. Depicted individuals include Young Man Afraid of His Horse, Low Dog, Good Horse, Clear Eyes, Rain in the Face, Crow Flies High, Trail Hunter, Sitting Bull, Crow King, Red Cloud, White Faces, Running Antelope, Red Girl, Curly, John Grass, Gall, Spotted Tail, and a group of Ghost Dancers. There are also images of Barry, General Custer, the horse Comanche, and Buffalo Bill.
Biographical/Historical note:
David Frances Barry (1854-1934) was a photographer based in Bismarck, Dakota Territory, who is most noted for his photographs of famous American Indians. In 1878, he was hired by itinerant photographer O. S. Goff, with whom he eventually partnered. From 1878 to 1883, Barry traversed the Dakota Territory, making many of his most widely known photographs of American Indians, forts and battlefields, military officers, and other people in the region. In 1883, Barry opened a new studio in Bismarck, where he began photographing members of Cody's Wild West Show.
Local Call Number(s):
NAA Photo Lot R81-71
Reproduction Note:
Copy prints made by Smithsonian Institution, 1981.
Location of Other Archival Materials:
Additional photographs by Barry, as well as originals of images in this collection, can be found in the National Anthropological Archives in Photo Lot 24, Photo Lot 80-18, Photo Lot 87-2P, Photo Lot 90-1, MS 4559, and the BAE historical negatives.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This copy collection has been obtained for reference purposes only. Contact the repository for terms of use and access.
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Stereographs
Photographs
Date:
late 19th century-early 20th century
Scope and Contents note:
Stereographs documenting Native North Americans, including studio portraits, camps and dwellings, graves, infants in cradleboards, and pottery. Specific images portray Sitting Bull's camp at Fort Randall, Curly at the Custer monument, and a Southern Plains delegation at the White House Conservatory. Tribes represented include Winnebago, Tuscarora, Tesuque, Seneca, San Juan, Pecos, Ojibwa, Oglala, Ute, Kaibab, Sisseton, Arikara, Mandan, Hopi, Shoshoni, Isleta, and Laguna, as well as Native peoples of Alaska and Labrador.
The photographs were published by a variety of firms including E. & H. T. Anthony & Company, George Barker, H. H. Bennett, Bennett & Brown, W. Henry Brown, Caswell & Davy, Childs Art Gallery, B. B. Brubaker, Continent Stereo Company, W. R. Cross, H. A. Doerr, J. Gurney & Son, Haynes, H. T. Hiester, John K. Hillers, William H. Jackson, J. F. Jarvis, Keystone View Company, B. L. Singley, S. J. Morrow, H. T. Payne, H. N. Robinson, C. R. Savage, John P. Soule, Underwood & Underwood, Whitney's Gallery, Whitney & Zimmerman, and Ben Wittick.
Local Call Number(s):
NAA Photo Lot 140
Location of Other Archival Materials:
Additional photographs by these photographers can be found in the National Anthropological Archives in additional collections of stereographs relating to Native Americans (MS 4551 and Photo Lot 90-1)
Photo lot 140, Bureau of American Ethnology collection of stereographs relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Basin Search this
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Prints
Date:
ca. 1860's
Scope and Contents:
Relate to Arapaho(s), Dakota (some Oglala) and probably Dakota Indians (25), most on mount of D. S. Mitchell, Eddy Street, Cheyenne, Wyoming, others on unprinted mounts; and 1 Shoshoni photograph on mount of Howard, Fort San[ders ?], Wyoming Territory. All on carte de visite style mounts.
Catalog Number 4754: (1) Tribe: Arapaho Description: "Sharp Nose" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,703. (2) Arapaho "White Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 132-c. (3) Arapaho "Friday" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,704. (4) Arapaho "Black Coal" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,705. (5) Cheyenne "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 54,855-B. (6) Dakota (Oglala) "Red Cloud" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3237-d. (7) Dakota (Oglala) "American Horse" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3214-c. (8) Dakota (Oglala) "Little Big Man" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3215-b. (9) Dakota (Oglala) "Three Bears" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3207-b. (10) Dakota (Oglala) "He Dog" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3229-b. (11) Dakota (Oglala) Red Dog D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3208-b. (12) Dakota (Oglala) "Little Wound" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3219-b. (13) Dakota (Oglala) "Slow Bull" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,717. (14) Dakota (Oglala) Young Man Afraid of His Horses D. S. Mitchell, Eddy Street, Cheyenne , Wyoming Negative Number 55,718. (15) Dakota (Oglala) "Red Shirt" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,719.
Catalog Number 4754: Tribe: (16) Dakota Description: "Rockey Bear" Photographer: D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 3711-o-1. (17) Dakota "The one that Sleeps Negative Number 3711-p. (18) Dakota "Long Bull" Negative Number 3656-c. (19) Dakota "Washington Enlisted Man" See (20), below Negative Number 3655-d. (29) Dakota "Stands First" Same individual as (19), above. Bureau of American Ethnology file print gives name as Stands First Negative Number 55,708. (20) Dakota "Pawnee Killer" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,707. (21) [Dakota ?] Man wearing three-cornered hat, holding pipe D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,709. (22) [Dakota ?] "6 Feather" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,710. (25) [Dakota ?] "Little Wolf" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,713. (23) [Dakota ?] "Black Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negaive Number 55,711. (24) [Dakota ?] "White Bird" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,712. (26) [Dakota ?] "Walking Cane" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,714. (27) [Dakota ?] "Money" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,715. (19) ? [Dakota ?] "Yellow Bear" D. S. Mitchell, Eddy Street, Cheyenne, Wyoming Negative Number 55,706. (28) [Dakota ?] "Feather Head Negative Number 55,716. Shoshoni "Shoshone Squaw" Photographer: Howard, Fort San[ders ?], Wyoming Territory Negative Number 55,720.
Local Numbers:
NAA MS 4754
Local Note:
Copy negatives are on file for all (Negatives 54,855-B and 55,703-55,720 made 2/66; others were previously on file.)
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.
Topic:
Indians of North America -- Southern states Search this
This collection contains an Opalotype photograph of Red Cloud photographed by Charles Milton Bell in 1880. The photograph was in the collection of the 27th Vice President of the United States, James Schoolcraft Sherman.
Scope and Contents:
P38087
This portrait of Oglala Lakota Chief Red Cloud was photographed by Charles Milton Bell in 1880. The photo is an opalotype (a direct postive photograph on milk glass) that was owned by James Schoolcraft Sherman, the 27th Vice President of the United States. The opalotype was kept in the family and passed down to Sherman's eldest son Sherrill Sherman, who installed it as a window in his home in Clinton, NY. Sherill's son, Sherill Sherman, Jr. then installed the window in his wife's music studio in New Hartford, CT.
Arrangement:
This collection is arranged in one box.
Biographical / Historical:
James Schoolcraft Sherman (1855-1912) was the Vice President under William Howard Taft (1908-1912). Prior to being Vice President, he was a Congressman from New York and for twelve years preceding the Vice Presidency, was Chairman of the Commission on Indian Affairs. He was also a collector of Indian artifacts.
Charles Milton Bell (circa 1849-1893) operated one of Washington, DC's leading photography studios. In 1880 he invited Oglala Chief Red Cloud, also known as Makhpiya-luta, (1822-1909) and the delegation he was traveling with to his photography studio located on Pennsylvania Avenue. Bell photographed both group and individual portraits. De Lancey Gill, a photographer from the Bureau of American Ethnology, presumably printed one of these Red Cloud portraits on a milk glass plate resulting in an Opalotype.
Provenance:
Donated in 2013 to NMAI in memory of the 27th Vice President, James Schoolcraft Sherman. A gift of the Sherrill Sherman, Jr. family.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Thursday, 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); James Schoolcraft Sherman's photograph of Chief Red Cloud, P38087; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection contains photographs was shot circa 1887-1899 by Jesse Hasting Bratley and Horace G. Jennerson while they served as teachers on the Rosebud and Pine Ridge Reservations.
Scope and Contents:
This collection contains 28 glass plate negatives and 30 photographic prints that were mostly shot by Jesse Hasting Bratley and Horace G. Jennerson circa 1887-1905, while they were teachers on the Rosebud and Pine Ridge Reservations respectively. The photographs include depictions of the Corn Creek Day School on Rosebud Reservation and No. 20 Day School on the Pine Ridge Reservation; portraits of individuals and families; interior views of an Omaha earth lodge and exterior views of encampments; activities such as branding calves, a 4th of July celebration, and an Episcopalian Convocation; and landscapes of the Badlands in South Dakota. One photograph in the collection possibly depicts Horace G. Jennerson circa 1938-1940.
Photographs of note include 2 glass plate negatives depicting Chief Red Cloud.
Some photographs in this collection are restricted because they depict culturally sensitive scenes such as sweat house/lodges and burial grounds.
Jennerson collected Bratley's photographs at some unknown point in time and Jennerson's wife Mary captioned many of the original plates and prints. In some instances, the original photographer is unclear.
Arrangement:
This collection is organized into 5 series: Series 1: Portraits, Series 2: Students and schools, Series 3: Activities, Series 4: Buildings and structures, and Series 5: Landscapes.
The photographs are physically arranged in original catalog number order within folders. The glass plate negatives are arranged in boxes according to image size and then by catalog number order.
Biographical / Historical:
Born in Kansas in 1863, Horace G. Jennerson served as a teacher at the No. 20 Day School on the Pine Ridge Reservation, South Dakota from circa 1896-1905. He married Mary R. Jennerson in Saline, Kansas in 1889. Their children included M. Leah Jennerson and Horace L. Jennerson. He also served as a financial clerk for the Indian Service in Ponca, Oklahoma circa 1905-1913. He died in Seattle, Washington in 1940.
Jesse Bratley was born in Brown Town, Wisconsin in 1867. He served as teacher at the Lower Cut Meat Creek Indian Day School on the Rosebud Reservation in South Dakota from circa 1893-1899. In addition to regular classes, he also taught the children farming, carpentry, and blacksmithing. He later served as a teacher at the Cantonment Boarding School in Oklahoma, circa 1899-1900; Havasupai at Cataract, Arizona, circa 1902-1903; Hopi Day School in Arizona, circa 1902-1903, and Seminole, Florida, 1910. He passed away in Florida in 1948.
Separated Materials:
Horace L. Jennerson also donated objects to the Museum of the American Indian and are cataloged under numbers 243761-243811.
Provenance:
This collection was donated to the Museum of the American Indian by Horace L. Jennerson (son of Horace G. Jennerson) in 1970.
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:
Some images restricted: Cultural Sensitivity
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.
Identification of specific item; Date (if known); Horace G. Jennerson collection, catalog #; National Museum of the American Indian Archive Center, Smithsonian Institution.
Copy of a studio portrait depicting Red Cloud presenting a headdress and pipe to Othniel Charles Marsh. The portrait was made at Frank A. Bowman's studio in New Haven, Connecticut, on January 22, 1883.
Biographical/Historical note:
Othniel Charles Marsh (1831-1899) was a well-known paleontologist who met Red Cloud (1822-1909) in 1874. While doing fieldwork for the Red Cloud Agency, Marsh assisted Red Cloud in encouraging Indian agent Dr. John J. Saville, a physician accused of graft, to resign from the agency. In 1883, Red Cloud visited Marsh at the Peabody Museum of Yale University, at which time they visited Frank Augustus Bowman (1847-1911), a commercial photographer in New Haven from about 1878-1900.
Local Call Number(s):
NAA Photo Lot R79-49
Reproduction Note:
Copy print made, probably by John Canfield Ewers, 1979.
Location of Other Archival Materials:
The Peabody Museum holds the headdress and pipe pictured, as well as other photographs made during the same event.
Additional photographs of Red Cloud can be found in the National Anthropological Archives in MS 4559, MS 4598, MS 4754, Photo Lot 87-2P, Photo Lot 90-1, Photo Lot 2001-14, and the BAE historical negatives.
Papers relating to Marsh can be found in the Smithsonian Institution Archives in SIA RU000248, SIA RS00251, and SIA AH00049.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This print was obtained for reference purposes only and cannot be reproduced for researchers.
Genre/Form:
Photographs
Citation:
Photo lot R79-49, Copy of Frank A. Bowman portrait of Red Cloud and Othniel Charles Marsh, National Anthropological Archives, Smithsonian Institution
Studio portrait of Sitting Bull, Swift Bear, Spotted Tail, Red Cloud, and Julius Meyer. This is not the famous Sitting Bull, and he was Oglala not Miniconjou as he is identified in the photograph.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Plains Search this
Type:
Archival materials
Photographs
Date:
1880
Scope and Contents:
Red Dog, Little Wound, Red Cloud, American Horse, Red Shirt. Interpreter: John Bridgeman.
This is the "school committee" from Pine Ridge that went to Carlisle, Penn. to investigate the condition of the Sioux students there in 1880. From Carlisle, they and a number of of other chiefs went on to Washington to talk with government and railroad officials about permitting the railroads to cross the reservation. My material from the official records shows that Red Cloud, Red Shirt, Little Wound, and American Horse were four of the five chiefs representing the Oglalas. The fifth man was Red Dog, chief of the Oglala Oyukhpe band, and I think it would be safe to assume that he is the unidentified Indian seated on the extreme left, next to Little Wound. I have never seen a photo of Red Dog with which I could check this assumption. The Archives has a set of volumes containing photos by Gardner of the Sioux delegations in 1872. Red Dog went to Washington in 1872, but unfortunately, the volume containing the photos of the Oglala delegation is not with the others in the set. Red Dog was a close companion of Red Cloud and also supported the latter in his schemes. Both came to Washington in 1870, but I never saw any photos taken of that delegation. The white man standing behind the seated chiefs is John Bridgeman, who served as interpreter for the Pine Ridge delegation. Incidentally, I'm sure the two photos of Red Shirt used by Schmitt & Brown were taken at the same time this group photo was made. -- Harry Anderson, 119-11 233 St., St Albans 11, N. Y., Apl 2, 1956 to Mrs Blaker. Correspondence in Smithsonian Institution Files.
Biographical / Historical:
Date: 1880 [date supplied by Harry Anderson, 1956.] Photo made in C. M. Bell Studio. Partly identified by Harry Anderson, 1956.
Local Numbers:
NAA INV.10000520
OPPS NEG.3238 E
Local Note:
See OPPS Negative 3238 D for enlargement of Chief Red Cloud.
See OPPS Negative 3238 EE for enlargement of American Horse.
Indians of North America -- Great Plains Search this
Type:
Archival materials
Photographs
Place:
Nebraska
Genoa (Neb.)
Scope and Contents:
Notation on back of photograph: "Red Cloud (center profile, with cane) and sub-chief of the Sioux Nation." Also "Billy the Bear - L.J. -F. Saeger (or Flalger), in the rear with a hat on without a coat, between two chiefs." Genoa School and band, Genoa, Nebraska, ca. 1901. Billy the Bear is Jaeger, not Saeger or Faeger. -- Information from Jim Hanson, NAA visit 12-8-72.
Photo lot 87-2P, United States National Museum Department of Anthropology photograph collection relating to Native Americans, National Anthropological Archives, Smithsonian Institution
