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American Indian Music of the Southwest

Recorder:
Rhodes, Willard, 1901-1992 (liner notes)  Search this
Creator:
Tschopik, Harry, 1915-1956  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
4 Phonograph records (analog, 78 rpm, 10 in.)
Culture:
Indians of North America  Search this
Apache Indians  Search this
Havasupai (Coconino)  Search this
Hopi  Search this
Tohono O'Odham Indians  Search this
Taos Indians  Search this
San Ildefonso Pueblo (N.M.)  Search this
Yuma  Search this
Zuni  Search this
Type:
Archival materials
Phonograph records
Place:
United States
New Mexico
Arizona
Date:
1951
Contents:
Taos: Moonlight song ; Gambling song --San Ildefonso: Eagle dance --Zuni: Rain dance --Hopi: Butterfly dance -- Navajo: Night chant ; Enemy way song --Western Apache: Devil dance ; Sunrise song --Yuma: Birds song cycle -- Papagao: Saguaro song --Walapai: Funeral song ; Havasupai: Stick game song.
Local Numbers:
FW-ASCH-78-2464

Folkways.1491
Publication, Distribution, Etc. (Imprint):
New York Folkways 1951
Date/Time and Place of an Event Note:
Recorded in: Arizona, New Mexico, United States.
General:
Program notes by Harry Tschopik, Jr. and W. Rhodes with the cooperation of the United States Office of Indian Affairs. "Recorded in Indian communities by Willard Rhodes with the cooperation of the United States Office of Indian Affairs." Title on container: American Indians of the Southwest. Performer(s): Sung and performed by Apache, Havasupai, Hopi, Papagao, San Ildefonso, Taos, Walapai, Yuma, and Zuni Indians.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-78-2464
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / 78 RPM
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5553ece97-05f5-480f-a30c-d3f97a12649b
EDAN-URL:
ead_component:sova-cfch-asch-ref23460

Drum and drumstick

Culture/People:
San Ildefonso Pueblo  Search this
Object Name:
Drum and drumstick
Media/Materials:
Wood, hide
Techniques:
Carved
Object Type:
Music and Sound
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Catalog Number:
21/1047
Barcode:
211047.000
See related items:
San Ildefonso Pueblo
Music and Sound
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws672b8f1be-1b31-4783-9997-114f322e6e9e
EDAN-URL:
edanmdm:NMAI_225360
Online Media:

Buffalo Dance

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Julian Martinez (Pocano), San Ildefonso Pueblo, 1884-1943  Search this
Previous owner:
Dr. Henry Craig Fleming, Non-Indian, ca. 1881-1960  Search this
Donor:
Dr. Henry Craig Fleming, Non-Indian, ca. 1881-1960  Search this
Title:
Buffalo Dance
Object Name:
Painting
Media/Materials:
Deerhide/deerskin, paint
Techniques:
Painted
Dimensions:
79 x 61 cm
Object Type:
Painting/Drawing/Print
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
circa 1930
Catalog Number:
22/8644
Barcode:
228644.000
See related items:
San Ildefonso Pueblo
Painting/Drawing/Print
On View:
NMAI, New York, NY: Infinity of Nations, Southwest
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6d7a353de-27dd-41fb-9ec2-7cf8749bf4b5
EDAN-URL:
edanmdm:NMAI_243253
Online Media:

Buffalo, Deer, Antelope Dance

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Awa Tsireh (Alfonso Roybal/Cattail Bird), San Ildefonso Pueblo, 1898-1955  Search this
Previous owner:
Dr. Henry Craig Fleming, Non-Indian, ca. 1881-1960  Search this
Donor:
Dr. Henry Craig Fleming, Non-Indian, ca. 1881-1960  Search this
Title:
Buffalo, Deer, Antelope Dance
Object Name:
Painting
Media/Materials:
Paperboard, watercolor
Techniques:
Painted
Dimensions:
71 x 28.5 cm
Object Type:
Painting/Drawing/Print
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
circa 1930
Catalog Number:
22/8609
Barcode:
228609.000
See related items:
San Ildefonso Pueblo
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws684b12261-5c71-4e50-ae47-25f848940eea
EDAN-URL:
edanmdm:NMAI_243636
Online Media:

Painting

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Tonita Peña (Tonita Vigil Peña/Quah Ah), San Ildefonso Pueblo, 1893-1949  Search this
Collector:
Joseph A. Imhof (Joseph Adam Andrew John Imhof), Non-Indian, 1871-1955  Search this
Sarah Imhof (Sarah Ann Elizabeth Russell/Sallie Imhof/Mrs. Joseph A. Imhof), Non-Indian, 1872-1966  Search this
Previous owner:
Joseph A. Imhof (Joseph Adam Andrew John Imhof), Non-Indian, 1871-1955  Search this
Sarah Imhof (Sarah Ann Elizabeth Russell/Sallie Imhof/Mrs. Joseph A. Imhof), Non-Indian, 1872-1966  Search this
Donor:
Sarah Imhof (Sarah Ann Elizabeth Russell/Sallie Imhof/Mrs. Joseph A. Imhof), Non-Indian, 1872-1966  Search this
Object Name:
Painting
Media/Materials:
Paper, watercolor
Techniques:
Painted
Dimensions:
11.9 x 17.7 cm
Object Type:
Painting/Drawing/Print
Place:
Cochiti Pueblo, Cochiti Reservation; Sandoval County; New Mexico; USA (inferred)
Date created:
1930-1940
Catalog Number:
23/3361
Barcode:
233361.000
See related items:
San Ildefonso Pueblo
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6b1554b76-eaec-4b7e-9428-6b2fb0da52fc
EDAN-URL:
edanmdm:NMAI_248508
Online Media:

Painting

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Oqwa Pi (Abel Sanchez/Oqua Pi/Oquwa Pi), San Ildefonso Pueblo, 1899-1971  Search this
Previous owner:
Byron Harvey, III (Byron Schemerhorn Harvey III), Non-Indian, 1932-2005  Search this
Donor:
Byron Harvey, III (Byron Schemerhorn Harvey III), Non-Indian, 1932-2005  Search this
Object Name:
Painting
Media/Materials:
Paper, watercolor
Techniques:
Painted, drawn
Dimensions:
28 x 34.8 cm
Object Type:
Painting/Drawing/Print
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
1920-1930
Catalog Number:
23/7591
Barcode:
237591.000
See related items:
San Ildefonso Pueblo
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws69a974a59-483a-431a-a64a-7f6a1875fb68
EDAN-URL:
edanmdm:NMAI_252959
Online Media:

Jar with feather design

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Maria Poveka Martinez (Maria Martinez/Marie/Maria Antonia Montoya), San Ildefonso Pueblo, 1887-1980 and Popovi Da (Tony Martinez), San Ildefonso Pueblo, 1923-1971  Search this
Previous owner:
Priscilla M. King (Pam M. King/Priscilla Martin King), Non-Indian, 1926-2002  Search this
Donor:
Priscilla M. King (Pam M. King/Priscilla Martin King), Non-Indian, 1926-2002  Search this
Object Name:
Jar with feather design
Media/Materials:
Pottery, paint
Techniques:
Coiled/hand built, burnished, painted
Dimensions:
9.5 x 9.5 x 8 cm
Object Type:
Containers and Vessels
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
1956-1970
Catalog Number:
25/4757
Barcode:
254757.000
See related items:
San Ildefonso Pueblo
Containers and Vessels
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws63abee569-a15f-4e79-8e9f-2206ab797739
EDAN-URL:
edanmdm:NMAI_270297
Online Media:

Plate

Culture/People:
San Ildefonso Pueblo  Search this
Artist/Maker:
Erik Fender (Than Tsideh [Sunbird]), San Ildefonso Pueblo, b. 1970  Search this
Seller:
Erik Fender (Than Tsideh [Sunbird]), San Ildefonso Pueblo, b. 1970  Search this
Seller agent:
Poeh Cultural Center  Search this
Object Name:
Plate
Media/Materials:
Pottery, pottery (micaceous clay), clay slip
Techniques:
Coiled/hand built, slipped, burnished, incised
Dimensions:
24.8 x 3.5 cm
Object Type:
Containers and Vessels
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
2018–2019
Catalog Number:
27/401
Barcode:
270401.000
See related items:
San Ildefonso Pueblo
Containers and Vessels
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws66ad6204e-a3e2-471f-ab39-2d3a94ac95af
EDAN-URL:
edanmdm:NMAI_416086

Jar

Culture/People:
probably K'apovi (Santa Clara Pueblo) (attributed); collected at San Ildefonso Pueblo  Search this
Collector:
Jesse L. Nusbaum (Jesse Logan Nusbaum/Jess Nusbaum), Non-Indian, 1887-1975  Search this
Object Name:
Jar
Media/Materials:
Pottery
Techniques:
Coiled/hand built, modeled
Dimensions:
11 x 14 cm
Object Type:
Containers and Vessels
Place:
San Ildefonso Pueblo, San Ildefonso Reservation; Santa Fe County; New Mexico; USA
Date created:
circa 1880
Catalog Number:
5/1017
Barcode:
051017.000
See related items:
K'apovi (Santa Clara Pueblo)
San Ildefonso Pueblo
Containers and Vessels
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6f87901b7-b104-4f41-96b2-94a87c56430e
EDAN-URL:
edanmdm:NMAI_55097
Online Media:

James E. Curry papers

Correspondent:
Paul, William L. Jr  Search this
Creator:
Curry, James E., 1907-1972  Search this
Names:
Rosebud Sioux Tribe  Search this
Three Affiliated Tribes  Search this
United States. Bureau of Indian Affairs  Search this
Bingham, Jonathan  Search this
Cohen, Felix  Search this
Cohen, Henry  Search this
Extent:
121.7 Linear feet
Culture:
Potawatomi  Search this
Muckleshoot  Search this
Nooksack  Search this
Missouria (Missouri)  Search this
Kalispel (Pend d'Oreilles)  Search this
Coeur d'Alene  Search this
Sac and Fox (Sauk & Fox)  Search this
Haida [Kasaan]  Search this
Salish (Flathead)  Search this
Kiowa  Search this
Yuit (Siberian Yup'ik) [Gambell, St. Lawrence Island]  Search this
Hunkpapa Lakota [Standing Rock]  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Wahpetonwan Dakota [Sisseton-Wahpeton Sioux Tribe]  Search this
Mdewakantonwan Dakota [Flandreau]  Search this
Diné (Navajo)  Search this
Yavapai [Fort McDowell]  Search this
Mojave (Mohave)  Search this
Piipaash (Maricopa)  Search this
Iroquois  Search this
Wendat (Huron)  Search this
Hopi Pueblo  Search this
Santa Ana Pueblo  Search this
Cocopa  Search this
San Ildefonso Pueblo  Search this
Akimel O'odham (Pima)  Search this
San Felipe Pueblo  Search this
Tohono O'odham (Papago)  Search this
Paiute  Search this
Wesort  Search this
Tillamook  Search this
Nisga'a (Niska)  Search this
Stockbridge Mahican  Search this
Quinault  Search this
Lummi  Search this
Hualapai (Walapai)  Search this
Taos Pueblo  Search this
Tesuque Pueblo  Search this
Eastern Shawnee [Quapaw Agency, Oklahoma]  Search this
Shoshone  Search this
Sandia Pueblo  Search this
Seminole  Search this
Cheyenne River Lakota Sioux  Search this
Coeur d'Alene  Search this
Croatan  Search this
Choctaw  Search this
Cocopa  Search this
Chickahominy  Search this
Lake Superior Chippewa [Lac Courte Oreilles, Wisconsin]  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
K'apovi (Santa Clara Pueblo)  Search this
Unangan (Aleut)  Search this
Chiricahua Apache [Fort Sill, Oklahoma]  Search this
San Carlos Apache  Search this
Inunaina (Arapaho)  Search this
Sioux [Crow Creek]  Search this
Quechan (Yuma/Cuchan)  Search this
Isleta Pueblo  Search this
Caddo  Search this
Ho-Chunk (Winnebago)  Search this
Yavapai  Search this
Sauk  Search this
Washoe (Washo)  Search this
Niimíipuu (Nez Perce)  Search this
Seneca  Search this
Omaha  Search this
Menominee (Menomini)  Search this
Niuam (Comanche)  Search this
Seri  Search this
Zia Pueblo  Search this
Yoeme (Yaqui)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Catawba  Search this
Muskogee (Creek)  Search this
Numakiki (Mandan)  Search this
Minitari (Hidatsa)  Search this
Sahnish (Arikara)  Search this
Osage  Search this
Chickasaw  Search this
Umatilla  Search this
Kaw (Kansa)  Search this
Tsimshian [Metlakatla]  Search this
Tlingit  Search this
Ute  Search this
Laguna Pueblo  Search this
Jemez Pueblo  Search this
Havasupai (Coconino)  Search this
Kootenai (Kutenai) [Idaho]  Search this
Klamath  Search this
Kickapoo [Oklahoma]  Search this
Oto  Search this
Spokan  Search this
Yakama (Yakima)  Search this
A:shiwi (Zuni)  Search this
Ohkay Owingeh (San Juan Pueblo)  Search this
Cochiti Pueblo  Search this
Type:
Collection descriptions
Archival materials
Notes
Letters
Clippings
Legal documents
Place:
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.
Identifier:
NMAI.AC.015
See more items in:
James E. Curry papers
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv47452304f-6226-44f3-9c83-407a91782872
EDAN-URL:
ead_collection:sova-nmai-ac-015

Herman J. Viola photograph collection relating to Star Hawk Pow Wow, American Indian Cultural Resources Training Program, and acquisition trips for NAA

Creator:
Viola, Herman J. (1938-)  Search this
Names:
American Indian Cultural Resources Training Program  Search this
Smithsonian Institution, Department of Anthropology, National Anthropological Archives, Native American Cultural Resources Training Program  Search this
Hunt, Wolf Robe, 1905-1977  Search this
Photographer:
Genete, Rev. Salvatore  Search this
Krantz, Victor  Search this
Neufeld, Harry B.  Search this
Warren, Dave.  Search this
Extent:
120 Negatives (photographic) (circa, 35 mm)
31 Color slides
300 Prints (circa, silver gelatin)
310 Negatives (photographic) (circa, acetate)
Culture:
Indians of North America -- Southwest, New  Search this
Indians of North America -- Great Plains  Search this
Oneida  Search this
Akimel O'odham (Pima)  Search this
Paiute  Search this
Cree  Search this
Spokan  Search this
Makah  Search this
Indians of North America -- Northwest Coast of North America  Search this
Hupa  Search this
Yakama (Yakima)  Search this
Yavapai  Search this
Tewa Pueblos  Search this
Sihasapa Lakota (Blackfoot Sioux)  Search this
Diné (Navajo)  Search this
Oto  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Coos (Kusan)  Search this
A:shiwi (Zuni)  Search this
Northwest Coast  Search this
Acoma Pueblo  Search this
Choctaw  Search this
Wyandot  Search this
Klallam (Clallam)  Search this
Plains Apache (Kiowa Apache)  Search this
Niimíipuu (Nez Perce)  Search this
Wintu  Search this
Missouria (Missouri)  Search this
Shawnee  Search this
Indians of North America -- Great Basin  Search this
Osage  Search this
Nisqually  Search this
Menominee (Menomini)  Search this
Minitari (Hidatsa)  Search this
Nuwuvi (Southern Paiute)  Search this
Puyallup  Search this
Chickasaw  Search this
Indians of North America -- California  Search this
Fox  Search this
Sauk  Search this
Seneca  Search this
Inunaina (Arapaho)  Search this
Indians of North America -- Plateau  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Ute  Search this
Klamath  Search this
Biloxi Indians  Search this
Tunica  Search this
A'aninin (Gros Ventre)  Search this
White Mountain Apache  Search this
Kiowa  Search this
Anishinaabe (Chippewa/Ojibwa)  Search this
Wampanoag  Search this
Oglala Lakota (Oglala Sioux)  Search this
Tlingit  Search this
Cayuga  Search this
Tulalip  Search this
Type:
Collection descriptions
Archival materials
Negatives (photographic)
Color slides
Prints
Photographs
Date:
1970-1991
Scope and Contents note:
Photographs made by Herman J. Viola, depicting the 1973 Institute of American Indian Art meeting, Wolf Robe Hunt and his Acoma pottery, the transfer of Blue Eagle collection from Mae Abbott home to National Anthropological archives, and the 1974 Star Hawk Pow Wow in Watonga, Oklahoma. Additionally, there are photographs of NAA staff and the 1974 Acee Blue Eagle reception at NAA, possibly made by Viola. The collection also contains some photographs of Wounded Knee taken by Rev. Salvatore Genete, and copies of official portraits of Governor Aquillar of San Ildefonso Pueblo made by Harry B. Neufeld. There are also National Archives photographs of Chinese Boxer Rebellion prints, and Young watercolors and Alden sketches of American landscapes.

Much of the collection consists of portraits of participants in the NAA's American Indian Cultural Resources Training Program made by Smithsonian photographers, including Victor Krantz. These individuals include: Harry Walters, Navajo; Anna Walters, Otoe-Pawnee; George Sutton, Southern Arapaho; Sarah Yazzie, Navajo; Rubie Sootkis, Norther Cheyenne; David Fanman, Cheyenne; Augustine Smith, Navajo; Lorraine Bigman, Navajo; Jim Jefferson, Southern Ute; Rose Marie Pierite Gallardo, Tunica-Biloxi; George Horse Capture, Gros Ventre; Violet Zospah, White Mountain Apache; Gloria Anderson, Mille Lacs; Wenonah Silva, Wampanoag; Claire Lamont, Oglala; George Wasson, Coos-Coquille; Virginia Martin, Yakama; Gary Roybal, San Ildefonso; Richard Ground, Sihasapa; Almeda Baker, Hidatsa; June Finley, Hidatsa; Lida Young Wolf, Hidatsa; Christine Webster, Menominee; Rose Marie Roybal, Puyallup; Vivienne Jake, Kaibab-Paiute; Kim Yerton, Hupa; Dean Jacobs, Ojibwa; Lois Nowlin, Shawnee; Bonita McCloud, Nisqually; Gloria Maude Blackbird Cheswalla, Osage; Emily Peake, Ojibwa; Gordon McLester, Oneida; Mary Seth, Nez Perce; Bill Tohee, Oto-Missouria; Frank LaPena, Wintu; Juanita McQuistion, Wyandot; Carson Waterman, Seneca; Elton Stumbling Bear, Kiowa Apache; Patrick Chief Stick, Chippewa-Cree; Lynne Walks-on-Top, Spokane; Ethelyn Garfield, Paiute; Nora Dauenhauer, Tlingit; Caroline B. Jones, Tulalip; Grace F. Thorpe, Sauk and Fox; Dixie Lee Davis, Yavapai; Lynn D. Pauahty, Kiowa; David Lee Harding, Ojibwa; Robert V. Bojorcas, Klamath; Patty Leah Harjo, Seneca-Cayuga; Steven DeCoteau, Clallam; Robert Van Gunten, Ojibwa; Danny K. Marshall, Steilacoom; Meredith P. Flinn, Makah; Rhonda Hulsey, Chickasaw; Betty J. Brown, Choctaw; Vernon Calavaza, Zuni; Jack Bowen Jr., Upper Skagit; and Harry William Jr., Pima.
Biographical/Historical note:
Herman Joseph Viola is a historian of Native Americans who was director of the National Anthropological Archives from 1972-1989 and founding editor of Prologue: The Journal of the National Archives. In 1973, he launched the American Indian Cultural Resources Training Program, designed to encourage Native Americans to become professional archivists, librarians, curators, and historians through research and internships at the NAA.
Local Call Number(s):
NAA Photo Lot 74-17
Location of Other Archival Materials:
The National Anthropological Archives holds Viola's papers from 1980-1981.
Records relating to the American Indian Cultural Resources Training Program can be found in the National Anthropological Archives in the Records of 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.
Topic:
Indians of North America -- Northeast  Search this
Archives -- Acquisitions  Search this
Powwows  Search this
Indians of North America -- Southern states  Search this
Genre/Form:
Photographs
Citation:
Photo lot 74-17, Herman J. Viola photograph collection relate to Star Hawk Pow Wow, American Indian Cultural Resources Training Program, and acquisition trips for NAA, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.74-17
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw38b2cbdd1-1e36-4d17-ad93-93934686e26f
EDAN-URL:
ead_collection:sova-naa-photolot-74-17

An Anthology of North American Indian and Eskimo Music

Producer:
Asch, Michael  Search this
Performer:
La Farge, Peter, 1931-1965  Search this
Low Horn, Jack  Search this
Low Horn, Jim  Search this
Wings, Emil, Mrs.  Search this
Peaychew, William, 1900-1960  Search this
Anquoe, Jack V., 1933-2006  Search this
Anquoe, Kenneth, 1920-1989  Search this
Webster, Nick  Search this
Evarts, Mark  Search this
Burn Stick, William  Search this
Nicotine, George  Search this
Roanhorse, Ambrose, 1904-1982  Search this
Pichette, Baptiste, 1903-1986  Search this
Conko, Eneas  Search this
John, Burton, 1905-1996  Search this
James, Roy  Search this
Poolaw, Irene Chalepah, 1920-2000  Search this
Assu, Billy  Search this
Martin, Mungo, 1879-1962  Search this
McKenzie, Sebastian  Search this
Ahkivigak, Otis  Search this
Lewis, Thomas  Search this
Miller, Huron  Search this
Yellow Thunder, Albert, 1878-1951  Search this
Snake, Blow  Search this
White Eagle, Winslow, b. 1896  Search this
Kenosha, David, Oshawenimiki, 1893-1963  Search this
Lacasse, Fred  Search this
Shalifoe, Thomas, 1903-1986  Search this
Stewart, Billy, Gatcayehola  Search this
Stewart, Billie  Search this
Tiger, Susie, 1871-1970  Search this
Fort Wingate (N.M.) Indian School  Search this
Kemukserar  Search this
Pangatkar  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Phonograph record (analog, 33 1/3 rpm, 12 in.)
Culture:
Americans  Search this
Indians of North America  Search this
Canadians  Search this
Teton Indians  Search this
Dakota Indians  Search this
Assiniboine  Search this
Kainah Indians  Search this
Cree  Search this
Kiowa Indians  Search this
Arapaho Indians  Search this
Pawnee Indians  Search this
Navajo Indians  Search this
Apache Indians  Search this
Salish Indians  Search this
Hualapai (Walapai)  Search this
Tohono O'Odham Indians  Search this
Washo Indians  Search this
Taos Indians  Search this
San Ildefonso Pueblo (N.M.)  Search this
Hopi  Search this
Zuni  Search this
Kiowa Apache Indians  Search this
Nootka Indians  Search this
Denetha  Search this
Naskapi Indians  Search this
Inuit  Search this
Onondaga Indians  Search this
Tuscarora Indians  Search this
Winnebago Indians  Search this
Ottawa Indians  Search this
Ojibwa Indians  Search this
Seminole Indians  Search this
Type:
Archival materials
Phonograph records
Place:
New York
United States
New York (N.Y.)
Saskatchewan
Canada
Fort Qu'appelle (Sask.)
New Mexico
Fort Wingate (N.M.)
Montana
Québec (Province)
Schefferville (Qub̌ec)
Alaska
Barrow, Point (Alaska)
Chesterfield (Alaska)
Onondaga Indian Reservation (N.Y.)
Wisconsin
Michigan
Florida
Oklahoma
Nebraska
Alberta
Edmonton (Alb.)
Taos Pueblo (N.M.)
San Ildefonso (N.M.)
Arizona
Hopi (Ariz.)
Zuni (N.M.)
Cape Mudge (B.C.)
British Columbia
Fort Rupert (B.C.)
Ontario
Six Nations Indian Reserve No. 40 (Ont.)
Cross Village (Mich.)
Lac du Flambeau (Wis.)
Baraga (Mich.)
Cow Creek (Fla.)
Date:
1973
Contents:
Sun dance (1:32) -- Love song (0:57) -- Crazy Dog song (1:41) -- Buffalo dance song (1:03) -- Man's love song (0:54) -- Hand game song (1:42) -- Prisoner's song (2:20) -- World War II song (1:36) -- Warrior death song for Sitting Bull (2:00) -- Canvas dance song (1:40) -- Funeral song (1:37) -- Suguaro song (1:58) -- Peyote song : first song cycle (1:26) -- Moonlight song (2:09) -- Eagle dance (2:59) -- Butterfly dance (1:41) -- Lullaby (0:58) -- Rain dance (1:47) -- Night chant (1:43) -- Song of happiness (1:09) -- Silversmith's song (1:09) -- Corn grinding song (0:59) -- Children's songs (1:47) -- Church song (1:03) -- Devil dance, crown dance (2:57). Wolf song (2:05) -- Potlatch song (1:38) -- Hamatsa song (1:12) -- War song for marriage (1:50) -- Rabbit dance song (2:03) -- Cree dance song (2:24) -- Fiddle dance song (1:00) -- Bear hunting song (1:44) -- Inviting-in dance song (0:47) -- His first hunt (2:06) -- Hunting for musk ox (3:33) -- Corn dance (2:08) -- Stomp dance (1:57) -- Song of welcome (1:19) -- Buffalo feast song (1:06) -- Morning song (1:12) -- Song of the unfaithful woman (0:59) -- Hoot owl song (1:09) -- Oh Mary (1:01) -- Catholic hymn (0:42) -- Calusa corn dance song (1:32) -- Song of removal (1:41) -- Fortynine dance (2:00) -- Unidentified track (1:03) -- As long as the grass shall grow (6:03).
Track Information:
101 Sun Dance / Drum,Whistle.

102 Love Song.

103 Crazy Dog Song / Jack Low Horn, Jim Low Horn, Emil, Mrs. Wings. Drum,Rattle (Musical instrument).

106 Hand Game Song / William Peaychew. Sticks (Musical instrument).

104 Buffalo Dance Song / Jack V. Anquoe, Kenneth Anquoe, Nick Webster. Drum.

105 Man's Love Song / Mark Evarts.

107 Prisoner's Song / William Burn Stick. Drum.

108 World War II Song / George Nicotine. Drum. English language.

109 Warrior Death Song for Sitting Bull / Bass drum,Bells.

207 Song of Happiness / Fort Wingate (N.M.) Indian School. Drum,Harmonica. Navajo language.

208 Silversmith's Song / Ambrose Roanhorse. Anvils. Navajo language.

209 Corn Grinding Song / Basket drum. Navajo language.

110 Canvas Dance Song / Baptiste Pichette, Eneas Conko. Drum.

111 Funeral Song.

112 Suguaro Song.

113 Peyote Song: First Song Cycle / Burton John, Roy James. Drum,Rattle (Musical instrument).

201 Moonlight Song.

202 Eagle Dance / Drum.

203 Butterfly Dance / Drum.

204 Lullaby.

205 Rain Dance.

206 Night Chant / Rattle (Musical instrument). Navajo language.

210 Children's Song: Wolf Song / Irene Chalepah Poolaw. Kiowa Apache.

210 Children's Song: Turtle Song / Irene Chalepah Poolaw. Kiowa Apache.

210 Children's Song: Turkey Song / Irene Chalepah Poolaw. Kiowa Apache.

210 Children's Song: Puppy Song / Irene Chalepah Poolaw. Kiowa Apache.

211 Church Song / Kiowa Apache.

212 Devil Dance, Crown Dance.

301 Wolf Song / Billy Assu.

302 Potlatch Song / Billy Assu.

303 Hamatsa Song / Billy Assu.

303 Hamatsa Song, Cedar Bark Dance / Mungo Martin.

304 War Song for Marriage / Billy Assu.

305 Rabbit Dance Song.

306 Cree Dance Song.

307 Fiddle Dance Song / Fiddle.

308 Bear Hunting Song / Sebastian McKenzie.

309 Inviting in Dance Song / Otis Ahkivigak.

310 His First Hunt / Kemukserar, Pangatkar.

311 Hunting for Musk Ox / Kemukserar, Pangatkar. Drum.

401 Corn Dance / Thomas Lewis.

402 Stomp Dance / Huron Miller.

403 Song of Welcome / Albert Yellow Thunder, Blow Snake, Winslow White Eagle.

404 Buffalo Feast Song / Albert Yellow Thunder, Blow Snake, Winslow White Eagle.

405 Morning Song / Albert Yellow Thunder, Blow Snake, Winslow White Eagle. Rattle (Musical instrument).

406 Song of the Unfaithful Woman / Albert Yellow Thunder, Blow Snake, Winslow White Eagle. Flute.

407 Hoot Owl Song / David, Oshawenimiki Kenosha.

408 Oh Mary / Fred Lacasse.

409 Catholic Hymn / Thomas Shalifoe.

410 Calusa Corn Dance Song / Billy, Gatcayehola Stewart.

411 Song of Removal / Billie Stewart, Susie Tiger.

412 Fortynine Dance / Fred Lacasse. English language.

413 The Seneca: As Long As the Grass Shall Grow / Peter La Farge.
Local Numbers:
FW-COMM-LP-04541

Folkways.4541
Publication, Distribution, Etc. (Imprint):
New York Folkways 1973
Date/Time and Place of an Event Note:
Recorded in: Florida, Michigan, Wisconsin, Onondaga Indian Reservation (N.Y.), Chesterfield (Alaska), Barrow, Point (Alaska), Alaska, Schefferville (Québec), Québec (Province), Montana, Fort Wingate (N.M.), New Mexico, Fort Qu'appelle (Sask.), Canada, Saskatchewan, New York (N.Y.), United States, New York.
General:
Commercial

Songs and dance music from many tribes including Sioux, Cree, Hopi, Zuni, Navajo, Apache, Kwakiutl-Nootka, Slavey, Iroquoian, Winnebago, Ojibwa, Seminole, and others. Compiled and edited by Michael I. Asch. Originally compiled principally from material previously released on several Folkways and Asch recordings. Program notes in English by Michael I. Asch and others, and Native American vocal texts with English translations and English vocal texts (10 p.)
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
American Indian  Search this
Jigs  Search this
Drum  Search this
Whistle  Search this
Rattle (Musical instrument)  Search this
Sticks (Musical instrument)  Search this
Bass drum  Search this
Bells  Search this
Harmonica  Search this
Anvils  Search this
Basket drum  Search this
Violin  Search this
Flute  Search this
Religion  Search this
Native American Church of North America  Search this
Children  Search this
puberty  Search this
Enslaved persons  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-COMM-LP-04541
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / LP
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5f3ff2b57-5a6a-4a21-8ca1-3b570b93e60b
EDAN-URL:
ead_component:sova-cfch-asch-ref16044

Awa Tsireh painting of the Corn Dance

Artist:
Awa Tsireh, 1898-1955  Search this
Extent:
1 Painting (watercolor, 23.75 x 17 inches)
Container:
Folder 362107
Culture:
San Ildefonso Pueblo  Search this
Tewa Pueblos  Search this
Type:
Collection descriptions
Archival materials
Graphic Materials
Paintings
Works of art
Watercolors
Place:
North America
Date:
before 1931
Scope and Contents:
The collection consists of one (1) watercolor painting by Awa Tsireh depicting the Corn Dance. The subject (i.e., Corn Dance) was identified April 1, 1978 by Santana Martinez, sister of the artist.

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:
Awa Tsireh (1898–1955), also known as Alfonso Roybal and Cattail Bird, was a San Ildefonso Pueblo artist known for his paintings and metalwork.
Local Numbers:
NAA MS 362107

NAA INV 08820000

USNM Accession 113605
Related Materials:
The National Anthropological Archives holds an additional painting by Awa Tsireh in the Acee Blue Eagle papers.

The Smithsonian American Art Museum holds over 50 paintings by Awa Tsireh.
Provenance:
The painting was donated to the United States National Museum as part of the bequest of Victor Justice Evans in 1931 (accession 113605). It was transferred from the object collections of the Department of Anthropology to the National Anthropological Archives on April 17, 1978, at the request of William C. Sturtevant.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Watercolors
Paintings
Citation:
Awa Tsireh painting of the Corn Dance (MS 362107), National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS362107
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw300360253-58ff-41c1-896d-3cf045afc8d4
EDAN-URL:
ead_collection:sova-naa-ms362107
Online Media:

MS 2628 Drawings of kivas at San Ildefonso Pueblo

Artist:
Wetzel, William H.  Search this
Extent:
3 Drawings
Culture:
San Ildefonso Pueblo  Search this
Tewa Pueblos  Search this
Type:
Collection descriptions
Archival materials
Drawings
Works of art
Floor plans
Place:
North America
Date:
1914-1915
Scope and Contents:
The collection consists of three (3) drawings of kivas at San Ildefonso Pueblo. The drawings were commissioned by the Bureau of American Ethnology, possibly for Matilda Coxe Stevenson. The collection also contains a purchase order and invoice for the drawings.

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.
Local Numbers:
NAA MS 2628
Restrictions:
Access to the collection is restricted due to cultural sensitivity. Contact the repository for more information.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Floor plans
Drawings
Citation:
MS 2628 Drawings of kivas at San Ildefonso Pueblo, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.MS2628
See more items in:
MS 2628 Drawings of kivas at San Ildefonso Pueblo
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3c77660c3-942a-425b-b6c8-6e5006dddf00
EDAN-URL:
ead_collection:sova-naa-ms2628

Peter Dechert photographs of Pueblo Artists

Photographer:
Dechert, Peter  Search this
Extent:
515 Photographs
Culture:
Pojoaque Pueblo  Search this
K'apovi (Santa Clara Pueblo)  Search this
San Ildefonso Pueblo  Search this
Ohkay Owingeh (San Juan Pueblo)  Search this
Cochiti Pueblo  Search this
Acoma Pueblo  Search this
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1970-1976
Summary:
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.
Identifier:
NMAI.AC.440
See more items in:
Peter Dechert photographs of Pueblo Artists
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv472573b81-3e06-4849-83ef-b54b4f8dfcba
EDAN-URL:
ead_collection:sova-nmai-ac-440

Parrott, Alice and Allen

Collection Creator:
Takaezu, Toshiko  Search this
Container:
Box 5, Folder 8
Type:
Archival materials
Date:
circa 1970-2009
Collection Restrictions:
The glaze recipes in the studio practice files are access restricted; written permission is required to view these documents. Contact Reference Services for more information.

Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Toshiko Takaezu papers, circa 1925-circa 2010. Archives of American Art, Smithsonian Institution.
See more items in:
Toshiko Takaezu papers
Toshiko Takaezu papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw993920c23-f7da-4da4-af0c-aef11678d3df
EDAN-URL:
ead_component:sova-aaa-takatosh-ref224

Christopher Cardozo Collection of Edward S. Curtis papers and photographs

Creator:
Curtis, Edward S., 1868-1952  Search this
Names:
Harriman Alaska Expedition (1899)  Search this
Former owner:
Cardozo, Christopher  Search this
Extent:
12.5 Linear feet
Culture:
Acoma Pueblo  Search this
Apache  Search this
Assiniboine (Stoney)  Search this
Niitsitapii (Blackfoot/Blackfeet)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Duwamish (Dwamish)  Search this
Hopi Pueblo  Search this
Hupa  Search this
Klamath  Search this
Jicarilla Apache  Search this
Kootenai (Kutenai)  Search this
Kwakwaka'wakw (Kwakiutl)  Search this
Diné (Navajo)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Coast Salish  Search this
Taos Pueblo  Search this
San Ildefonso Pueblo  Search this
Ohkay Owingeh (San Juan Pueblo)  Search this
Wishram  Search this
Type:
Collection descriptions
Archival materials
Date:
circa 1899-1930
Summary:
The collection comprises Edward S. Curtis original and copy negatives, prints, and photogravures relating to the Harriman Alaska Expedition and Curtis's 20 volume publication, the North American Indian (NAI), as well as ephemera and one gold-tone of Fort Lapawi.
Scope and Contents:
The Christopher Cardozo collection of Edward S. Curtis papers and photographs primarily relate to Curtis's opus, the North American Indian, and also the 1899 Harriman Alaska Expedition. Papers in the collection include promotional ephemera for the NAI as well as articles by Curtis and others. Photographic material includes original and copy negatives, prints, two Harriman Alaska Expedition souvenir albums, and one gold-tone of Fort Lapawi.
Arrangement:
The collection is arranged in two series: 1. Papers; and 2. Photographs and photogravures.
Biographical / Historical:
Edward Sherriff Curtis (1868-1952) was an American photographer famous for his photographs of the indigenous peoples of North America. His work was highly influential in shaping a sympathetic yet romantic view of cultures that he and many others believed to be "vanishing." Over the course of 30 years, Curtis visited more than 80 Native American communities and published his photographs and ethnographies in the twenty-volume North American Indian (NAI) (1907-1930).

Curtis was born in Whitewater, Wisconsin, to Ellen and Johnson Curtis in 1868. In about 1874, his family moved to a farm in Cordova, Minnesota. At a young age, Curtis built a camera, and it is possible that he may have worked in a Minneapolis photography studio for a time. In 1887, Curtis and his father moved West and settled on a plot near what is now Port Orchard, Washington, with the rest of the family joining them the following year. When Johnson Curtis died within a month of the family's arrival, 20-year-old Curtis became the head of the family.

In 1891, Curtis moved to Seattle and bought into a photo studio with Rasmus Rothi. Less than a year later, he and Thomas Guptill formed "Curtis and Guptill, Photographers and Photoengravers." The endeavor became a premier portrait studio for Seattle society and found success in photoengraving for many local publications. In 1892, Curtis married Clara Phillips (1874-1932) and in 1893 their son Harold was born (1893-1988), followed by Elizabeth (Beth) (1896-1973), Florence (1899-1987) and Katherine (Billy) (1909-?). Around 1895, Curtis made his first photographs of local Native people, including the daughter of Duwamish chief Seattle: Kickisomlo or "Princess Angeline." Curtis submitted a series of his Native American photographs to the National Photographic Convention, and received an award in the category of "genre studies" for Homeward (later published in volume 9 of the NAI). In 1896, the entire Curtis family moved to Seattle, which included Curtis's mother, his siblings Eva and Asahel, Clara's sisters Susie and Nellie Phillips, and their cousin William Phillips. Most of the household worked in Curtis's studio along with other employees. Curtis became sole proprietor of the studio in 1897, which remained a popular portrait studio but also sold his scenic landscapes and views of the Seattle Area. Curtis also sent his brother Asahel to Alaska and the Yukon to photograph the Klondike Gold Rush, and sold those views as well. Asahel went on to become a well-known photographer in his own right, primarily working in the American Northwest.

Curtis was an avid outdoorsman and joined the Mazamas Club after his first of many climbs of Mount Rainier. On a climb in 1898, Curtis evidently met a group of scientists, including C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot, who had lost their way on the mountain, and led them to safety. This encounter led to an invitation from Merriam for Curtis to accompany a group of over 30 well-known scientists, naturalists, and artists as the official photographer on a maritime expedition to the Alaskan coast. Funded by railroad magnate Edward Harriman, the Harriman Alaska Expedition left Seattle in May of 1899, and returned at the end of July. Curtis made around 5000 photographs during the trip, including photographs of the indigenous peoples they met as well as views of mountains, glaciers, and other natural features. Many of the photographs appeared in the expedition's 14 published volumes of their findings.

In 1900, Curtis accompanied Grinnell to Montana for a Blackfoot Sundance. Here, Curtis made numerous photographs and became interested in the idea of a larger project to document the Native peoples of North America. Almost immediately upon returning from the Sundance, Curtis set off for the Southwest to photograph Puebloan communities. By 1904, Curtis had already held at least one exhibit of his "Indian pictures" and his project to "form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their primitive customs and traditions" (General Introduction, the NAI) had taken shape and already received some press coverage. With his fieldwork now increasing his absences from home, Curtis hired Adolph Muhr, former assistant to Omaha photographer Frank Rinehart, to help manage the Seattle studio.

In 1904, Curtis was a winner in the Ladies Home Journal "Prettiest Children In America" portrait contest. His photograph of Marie Fischer was selected as one of 112 that would be published and Fischer was one of 12 children selected from the photographs who would have their portrait painted by Walter Russell. Russell and Curtis made an acquaintance while Russell was in Seattle to paint Fischer's portrait, and not long afterwards, Russell contacted Curtis to make photographic studies of Theodore Roosevelt's children for portraits he would paint. Curtis subsequently photographed the entire Roosevelt family, and developed a social connection with the President. Several important outcomes came of this new friendship, including Roosevelt eventually writing the foreword to the NAI, as well as making introductions to influential people.

Key among these introductions was one to wealthy financier John Pierpont Morgan, in 1906. After a brief meeting with Curtis during which he viewed several of Curtis's photographs of Native Americans, Morgan agreed to finance the fieldwork for the NAI project for five years, at $15,000.00 per year. It was up to Curtis to cover publishing and promotion costs, with the publication being sold as a subscription. In return, Morgan would receive 25 sets of the 20-volume publication. The ambitious publication plan outlined 20 volumes of ethnological text, each to be illustrated with 75 photogravure prints made from acid-etched copper plates. Each volume would be accompanied by a companion portfolio of 35 large photogravures. With high-quality papers and fine binding, a set would cost $3000.00. 500 sets were planned. Under Morgan, the North American Indian, Inc. formed as body to administer the monies. Also around this time, Frederick Webb Hodge, Director of the Smithsonian Institution's Bureau of American Ethnology, agreed to edit the publications.

Curtis then began more systematic fieldwork, accompanied by a team of research assistants and Native interpreters. In 1906, Curtis hired William E. Myers, a former journalist, as a field assistant and stenographer. Over the years, Myers became the lead researcher on the project, making enormous contributions in collecting data and possibly doing the bulk of the writing for the first 18 volumes. Upon meeting a new community, Curtis and his team would work on gathering data dealing with all aspects of the community's life, including language, social and political organization, religion, food ways, measures and values, and many other topics. (See box 2 folder 1 in this collection for Curtis's list of topics.) Curtis and his assistants, especially Myers, brought books and papers to the field relating to the tribes they were currently concerned with, and often wrote from the field to anthropologists at the Bureau of American Ethnology and other institutions for information or publications. In addition to fieldnotes and photographs, the team also employed sound recording equipment, making thousands of recordings on wax cylinders. Curtis also often brought a motion picture camera, although few of his films have survived.

The first volume of the NAI was published towards the end of 1907. Already, Curtis was encountering difficulty in finding subscribers to the publication despite great praise in the press and among those who could afford the volumes. Curtis spent progressively more of his time outside the field season promoting the project through lectures and in 1911, presenting his "Picture Musicale"—a lecture illustrated with lantern slides and accompanied by an original musical score—in major cities. After the initial five funded years, only eight of the twenty volumes had been completed. However, Morgan agreed to continue support for the fieldwork and publication continued.

Starting in 1910, Curtis and his team worked among the Kwakwaka'wakw First Nation on Vancouver Island, and in 1913 began to develop a documentary film project featuring the community in Alert Bay. In 1914, Curtis produced the feature-length film, In the Land of the Headhunters. The film showcased an all-indigenous cast and included an original musical score. Screened in New York and Seattle, it received high praise. However after this initial success, it did not receive the attention Curtis had hoped for, and resulted in financial loss.

Meanwhile, Curtis's prolonged absences from home had taken a toll on his marriage and in 1919 Clara and Edward divorced. The Seattle studio was awarded to Clara, and Curtis moved to Los Angeles, opening a photography studio with his daughter Beth and her husband Manford "Mag" Magnuson. Daughters Florence and Katherine came to Los Angeles sometime later. Curtis continued with fieldwork and promotion of the project, and in 1922 volume 12 of the NAI was published. Also in 1922, Curtis was accompanied during the field season in California by his daughter Florence Curtis Graybill, the first time a family member had gone to the field with him since the Curtis children were very small.

Curtis continued to push the project and publications along, yet never without financial struggle and he picked up work in Hollywood as both a still and motion picture photographer. John Pierpont Morgan, Jr., continued to provide funding for the fieldwork in memory of his father, but with the various financial upsets of the 1910s and 1920s, Curtis had a difficult time getting subscribers on board. In 1926, Myers, feeling the strain, regretfully resigned after the completion of volume 18. Anthropologist Frank Speck recommended Stewart Eastwood, a recent graduate from the University of Pennsylvania, to replace Myers as ethnologist for the final two volumes.

In 1927, Curtis and his team, along with his daughter Beth Curtis Magnuson, headed north from Seattle to Alaska and Canada on a final field season. Harsh weather and a hip injury made the trip difficult for Curtis, but he was very satisfied with the season's work. The party returned to Seattle, and upon arrival Curtis was arrested for unpaid alimony. He returned exhausted to Los Angeles, and in 1930 the final two volumes of NAI were published without fanfare. Curtis spent the next two years recovering from physical and mental exhaustion. Beth and Mag continued to run the Curtis studio in LA, but for the most part, Curtis had set down his camera for good. With the NAI behind him and his health recovered, Curtis pursued various interests and employment, eventually, settling down on a farm outside Los Angeles. he later moved in with Beth and Mag. Curtis died at home in 1952.

Sources Cited Davis, Barbara. Edward S. Curtis: the life and times of a shadowcatcher. San Francisco: Chronicle Books, 1984. Gidley, Mick. The North American Indian, Incorporated. New York: Cambridge University Press, 1998.
Christopher Cardozo (1948-2021) was a major collector and dealer in Edward S. Curtis photography.
Related Materials:
The National Anthropological Archives holds additional Curtis papers and photographs in NAA.2010-28, the Edward S. Curtis papers and photographs, MS 2000-18, the Edward Curtis investigation of the battle of Little Bighorn and Photo Lot 59, the Library of Congress copyright prints collection.

The Archives of Traditional Music at Indiana University holds Curtis's wax cylinder audio recordings from 1907-1913.

The Braun Research Library at the Autry Museum of the American West holds the Frederick Webb Hodge papers (1888-1931), which contain substantial correspondence from Curtis. The Braun also holds a small amount of Curtis papers and photographs, including some of Curtis's cyanotypes.

The Getty Research Institute holds the Edward S. Curtis papers (1900-1978), which include the original manuscript scores for the Curtis Picture Musicale and film In the Land of the Headhunters.

The Palace of the Governors at the New Mexico History Museum holds original Curtis negatives pertaining to the southwest.

The Pierpont Morgan Library holds the Edward S. Curtis papers (1906-1947), which contain the records of the North American Indian, Inc., as well as Curtis's correspondence to librarian, and later library director, Belle Da Costa Greene. The library also holds a large collection of Curtis's lantern slides, used in his Picture Musicale.

The Seattle Public Library holds correspondence of Curtis to Librarian Harriet Leitch (1948-1951), pertaining to his career.

The Seaver Center for Western History Research at the Los Angeles County Museum of Natural History holds collection GC 1143, which contains Curtis's field notes as well as manuscript drafts for the North American Indian.

The Smithsonian's National Museum of the American Indian holds NMAI.AC.080, the Edward S. Curtis photogravure plates and proofs, as well as NMAI.AC.053, the Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.

The University of Washington Libraries Special Collections holds the Edward S. Curtis papers (1893-1983). Additionally, the Burke Museum holds papers and photographs of Edmund Schwinke, which relate to Curtis's work with the Kwakwaka'wakw community.
Provenance:
The collection was donated to the National Anthropological Archives by Julie Cardozo in 2022.
Restrictions:
Viewing of the photographic negatives requires advance notice and the permission of the Photo Archivist.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Identifier:
NAA.2022-12
See more items in:
Christopher Cardozo Collection of Edward S. Curtis papers and photographs
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw36944a23c-3be7-4086-bab0-4696f3aab866
EDAN-URL:
ead_collection:sova-naa-2022-12

Popovi Da (Tony Martinez)

Collection Photographer:
Dechert, Peter  Search this
Extent:
21 Negatives (photographic)
2 Contact sheets
4 Photographs
Container:
Binder 1, Sheet 20-22 (formerly A7)
Photo-folder 5
Culture:
San Ildefonso Pueblo  Search this
Type:
Archival materials
Negatives
Photographs
Negatives (photographic)
Contact sheets
Photographs
Date:
March 1970
Scope and Contents:
This series contains 21 negatives, 2 contact sheet, 4 photographs depicting San Ildefonso Pueblo potter Popovi Da (also known as Tony Martinez; 1923-1971). The photographs were shot by Peter Dechert in March 1970. The images depict Popovi Da working on a pot, posing with finished pieces, and outdoor portraits.
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.
Identifier:
NMAI.AC.440, Series 3
See more items in:
Peter Dechert photographs of Pueblo Artists
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4af1cc5b0-afb9-4909-a497-ab74ecbfc3ee
EDAN-URL:
ead_component:sova-nmai-ac-440-ref3

Blue Corn (Crucita Gonzales Calabaza)

Collection Photographer:
Dechert, Peter  Search this
Extent:
62 Negatives (photographic)
2 Contact sheets
Container:
Binder 1, Sheet 23-26 (formerly A8-A9)
Photo-folder 6
Culture:
San Ildefonso Pueblo  Search this
Type:
Archival materials
Negatives
Photographs
Negatives (photographic)
Contact sheets
Date:
1975
Scope and Contents:
This series contains 62 negatives and 2 contact sheets depicting San Ildefonso Pueblo potter Blue Corn (also known as Crucita Gonzales Calabaza; 1921-1999). The photographs were shot by Peter Dechert in 1975 at the Santa Fe Market. The photographs depict Blue Corn working on her pottery, as well as 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.
Identifier:
NMAI.AC.440, Series 4
See more items in:
Peter Dechert photographs of Pueblo Artists
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv42f676ea0-7de6-4ef0-ac09-285da2a8676b
EDAN-URL:
ead_component:sova-nmai-ac-440-ref4

Bowl

Artist:
Maria Martinez, born San Ildefonso Pueblo, NM 1886-died San Ildefonso Pueblo, NM 1980  Search this
Julian Martinez, born San Ildefonso Pueblo, NM 1879-died San Ildefonso Pueblo, NM 1943  Search this
Medium:
blackware
Dimensions:
6 3/4 x 9 1/2 in. (17.2 x 24.2 cm) diam.
Type:
Decorative Arts-Ceramic
Crafts
Date:
n.d.
Credit Line:
Smithsonian American Art Museum, Gift of International Business Machines Corporation
Object number:
1966.27.14
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Renwick Gallery
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk72ddebb60-31ba-4550-bafc-2258ed8bb9de
EDAN-URL:
edanmdm:saam_1966.27.14

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