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Individual titles for the works: Wówahokuŋkiya | Lead [blue]; Wókaǧe | Create [yellow]; Nakíčižiŋ | Protect [green]; Wačháŋtognaka | Nurture [red]

Culture/People:
Sicangu Lakota (Brulé Sioux)  Search this
Artist/Maker:
Dyani White Hawk Polk, Sicangu Lakota (Brulé Sioux), b. 1976  Search this
Seller:
Highpoint Center for Printmaking  Search this
Presenter/funding source:
Smithsonian American Women's History Initiative Acquisitions Pool (AWHI)  Search this
Title:
Individual titles for the works: Wówahokuŋkiya | Lead [blue]; Wókaǧe | Create [yellow]; Nakíčižiŋ | Protect [green]; Wačháŋtognaka | Nurture [red]
Object Name:
Print
Media/Materials:
Paper, ink, metal foil
Techniques:
Screenprinted/serigraph printed
Dimensions:
55.5 x 32 cm
Object Type:
Painting/Drawing/Print
Place:
Minneapolis; Hennepin County; Minnesota; USA
Date created:
2019
Catalog Number:
27/636
Barcode:
270636.000
See related items:
Sicangu Lakota (Brulé Sioux)
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws69091ff73-287e-46db-8a5a-a545ab34d6ee
EDAN-URL:
edanmdm:NMAI_416570
Online Media:

Charles Vogt collection of Rinehart and Heyn photographs

Photographer:
Rinehart, F. A. (Frank A.)  Search this
Muhr, Adolph F., -1913  Search this
Heyn & Matzen  Search this
Extent:
11 Photographs
Culture:
Oglala Lakota (Oglala Sioux)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Wichita  Search this
Chiricahua Apache  Search this
Type:
Collection descriptions
Archival materials
Photographs
Date:
1898-1899
Summary:
This collection contains 11 color lithographs based on original monograph portraits of American Indian delegates photographed by F.A. Rinehart, Adolph Muhr, Herman Heyn, and James Matzen, 1898-1899.
Scope and Contents:
This collection contains 6 color lithograph prints of original monochromatic photographs that were shot by Frank A. Rinehart (ca. 1862-1928) and/or his assistant Adolph F. Muhr (ca. 1858-1913) at the U.S. Indian Congress of the Trans-Mississippi and International Exposition.

The Exposition was held in Omaha, Nebraska, between June 1 and October 31, 1898. During the Congress, Rinehart and Muhr photographed more than 500 delegates and groups representing the estimated thirty-five tribes represented at the Exposition and is considered the largest gathering of American Indian leaders at the turn of the century.

Another 5 colorized photographs in this collection are photographic portraits of American Indian leaders that were photographed by Herman Heyn and James Matzen at the Greater America Exposition in Omaha in 1899. Heyn copyrighted the photographs under his own name in 1899.

The photographers assigned the photograph titles.

Portraits in this collection include:

P16902- Broken Arm [Oglala Lakota (Oglala Sioux)] -Photo by Rinehart/Muhr, 1898

P16903- Chief Red Cloud [Oglala Lakota (Oglala Sioux) -Photo by Rinehart/Muhr, 1898

P16904- White Swan [Apsáalooke (Crow/Absaroke)] -Photo by Rinehart/Muhr, 1898

P16905- Stella Yellowshirt and child [Sicangu Lakota (Brulé Sioux)] -Photo by Heyn, 1899

P16906- Chief Painted Horse [Oglala Lakota (Oglala Sioux)]-Photo by Heyn, 1899

P16907- Ahahe and child (Wichita) -Photo by Rinehart/Muhr, 1898

P16908- Yellowshirt [Sicangu Lakota (Brulé Sioux)] -Photo by Heyn, 1899

P16909- Shot In The Eye [Oglala Lakota (Oglala Sioux)] -Photo by Heyn, 1899

P16910- Alice Lone Bear [Oglala Lakota (Oglala Sioux)] -Photo by Rinehart/Muhr, 1898

P16911- Hattie Tom (Chiricahua Apache) -Photo by Rinehart/Muhr, 1898

P16912- High Hawk [Oglala Lakota (Oglala Sioux)] -Photo by Heyn, 1899
Arrangement:
Arranged by catalog number.
Biographical / Historical:
The Trans-Mississippi and International Exposition World's Fair was held in Omaha, Nebraska from June 1 to October 1898. Over 500 Indian delegates from over thirty-five different tribes were present at the Fair. James Mooney (Bureau of Ethnology) and Captain William A. Mercer organized and managed the Indian Congress in conjunction with the Exposition. It included "living exhibitions," with mock Indian villages and demonstrations of dances, daily activities, and sham battles.

The official photographer of the U.S. Indian Congress was Frank A. Rinehart (ca. 1862-1928) with his assistant Adolph F. Muhr (ca. 1858-1913). The Rinehart and Muhr photographs are considered one of the most comprehensive photo documentations of American Indian leaders at the turn of the century.

After the Trans-Mississippi Exposition ended, the Greater America Exposition opened on the same fair grounds from July 1, 1899 to October 31, 1899. Herman Heyn and James Matzen won the contract to be the official photographer of the new Exposition. This Exposition featured many of the same buildings and set up as the Trans-Mississippi Exposition of the previous year.
Related Materials:
NMAI holds a number of related photograph collections including NMAI.AC.118- U.S. Indian Congress of the Trans-Mississippi and International Exposition photograph album and NMAI.AC.119- Byron Harvey, III Collection of Exposition and Portrait photographs.
Provenance:
Gift of Mr. Charles Vogt to Museum of the American Indian, 1945.
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); Charles Vogt collection of Rinehart and Heyn photographs, image #, NMAI.AC.298; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.298
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv471603429-2347-4683-abea-092b6c4d0e6e
EDAN-URL:
ead_collection:sova-nmai-ac-298
Online Media:

U.S. Indian Congress of the Trans-Mississippi and International Exposition photograph album

Creator:
Rinehart, F. A. (Frank A.)  Search this
Muhr, Adolph F., -1913  Search this
Extent:
0.25 Linear feet
18 Photographic prints
Culture:
Chiricahua Apache  Search this
Pikuni Blackfeet (Piegan)  Search this
Southern Inunaina (Arapaho)  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Southern Tsitsistas/Suhtai (Cheyenne)  Search this
Assiniboine (Stoney)  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Niitsitapii (Blackfoot/Blackfeet)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Photographs
Photograph albums
Date:
1898
Summary:
This photograph album contains 18 photographic portraits of American Indian delegates at the U.S. Indian Congress of the Trans-Mississippi and International Exposition in Omaha, Nebraska, 1898. Frank A. Rinehart and Adolph F. Muhr's photographs of the Exposition are considered one of the most comprehensive photo documentations of American Indian leaders at the turn of the century.
Scope and Contents:
This collection contains 18 photographs arranged in an album. The photographs depict portraits of American Indians delegates at the U.S. Indian Congress of the Trans-Mississippi and International Exposition held in Omaha, Nebraska, between June 1 and October 31, 1898. During the Congress, Frank A. Rinehart (ca. 1862-1928) and/or his assistant Adolph F. Muhr (ca. 1858-1913) photographed more than 500 delegates and groups representing the estimated thirty-five tribes represented at the Exposition.

The photographs that Rinehart and Muhr shot during the Exposition depict the largest gathering of American Indian leaders at the turn of the century. This collection contains only 18 of the hundreds of photographs that Rinehart and Muhr shot at the event.

The photographers assigned the photograph titles.
Biographical / Historical:
The Trans-Mississippi and International Exposition World's Fair was held in Omaha, Nebraska from June 1 to October 1898. Over 500 Indian delegates from over thirty-five different tribes were present at the Fair.

James Mooney (Bureau of Ethnology) and Captain William A. Mercer organized and managed the Indian Congress in conjunction with the Exposition. It included "living exhibitions," with mock Indian villages and demonstrations of dances, daily activities, and sham battles.

The official photographer of the U.S. Indian Congress was Frank A. Rinehart (ca. 1862-1928) with his assistant Adolph F. Muhr (ca. 1858-1913). Rinehart shot the majority of the outdoor battles, dance scenes, and events, while Muhr photographed the majority of the delegate portraits. Rinehart copyrighted the photographs under his own name in 1899 and 1900. The Rinehart and Muhr photographs are considered one of the most comprehensive photo documentations of American Indian leaders at the turn of the century.
Related Materials:
The Haskell Indian Nations University in Lawrence, Kansas has a large collection of Frank Rinehart photographs from U.S. Indian Congress of the Trans-Mississippi and International Exposition, including the original glass plate negatives.

The National Museum of the American Indian Archive Center also holds other photographs shot by Rinehart and Muhr at Trans-Mississippi and International Exposition, including collection NMAI.AC.119.
Provenance:
Donated by Margaret Cross in 2001.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Trans-Mississippi and International Exposition (1898 : Omaha, Neb.) -- Photographs  Search this
Genre/Form:
Photographs
Photograph albums
Citation:
Identification of specific item; Date (if known); U.S. Indian Congress of the Trans-Mississippi and International Exposition photograph album, Photo Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.118
See more items in:
U.S. Indian Congress of the Trans-Mississippi and International Exposition photograph album
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv44ccaa207-fa6b-4fff-a948-b4a3ae02bc3e
EDAN-URL:
ead_collection:sova-nmai-ac-118
Online Media:

William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians

Creator:
Jackson, William Henry, 1843-1942  Search this
Photographer:
Geological Survey (U.S.)  Search this
J. Gurney & Son  Search this
Savage & Ottinger  Search this
Bell, C. M. (Charles Milton), approximately 1849-1893  Search this
Carter, C. W., 1832-1918  Search this
Chamberlain, W. G. (William Gunnison)  Search this
Easterly, Thomas M. (Thomas Martin), 1809-1882  Search this
Gardner, Alexander, 1821-1882  Search this
Hillers, John K., 1843-1925  Search this
M'Clees, Jas. E. (James E.)  Search this
Shindler, A. Zeno (Antonio Zeno), 1823-1899  Search this
Ulke, Henry, 1821-1910  Search this
Vannerson, Julian, 1827-  Search this
Westmann, Orloff R.  Search this
Whitney, Joel E. (Joel Emmons), 1822-1886  Search this
Names:
Geological Survey of the Territories (U.S.) (1862-1872) (Hayden Survey)  Search this
Powell-Thompson Survey  Search this
Extent:
9 Albums (circa 4000 prints, albumen (some copies))
Culture:
White Mountain Apache  Search this
Warm Springs Chiricahua Apache (New Mexico)  Search this
Wahpetonwan Dakota (Wahpeton Sioux)  Search this
Waco Indians  Search this
White River Ute (Yampa)  Search this
Wyandot  Search this
Ho-Chunk (Winnebago)  Search this
Wichita  Search this
Indians of North America -- Northeast  Search this
Tewa Pueblos  Search this
Taos Indians  Search this
Stockbridge Indians  Search this
Sisitonwan Dakota (Sisseton Sioux)  Search this
Ute  Search this
Uintah Ute  Search this
Tonkawa  Search this
Pueblo  Search this
Tohono O'odham (Papago)  Search this
Akimel O'odham (Pima)  Search this
A:shiwi (Zuni)  Search this
Yanktonnai Nakota (Yankton Sioux)  Search this
Montauk  Search this
Bannock  Search this
Diné (Navajo)  Search this
Brotherton Indians  Search this
Modoc  Search this
Inunaina (Arapaho)  Search this
Mojave (Mohave)  Search this
Sahnish (Arikara)  Search this
Minneconjou Lakota (Minniconjou Sioux)  Search this
Missouria (Missouri)  Search this
Apache  Search this
Numakiki (Mandan)  Search this
Chiricahua Apache  Search this
Miami  Search this
Oto  Search this
Kitchai Wichita  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Kiowa  Search this
Osage  Search this
Chickasaw  Search this
Odawa (Ottawa)  Search this
Jicarilla Apache  Search this
Anishinaabe (Chippewa/Ojibwa)  Search this
Cherokee  Search this
Omaha  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Niimíipuu (Nez Perce)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Caddo  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Iowa  Search this
Sauk  Search this
Seminole  Search this
Dakota (Eastern Sioux)  Search this
Shawnee  Search this
Potawatomi  Search this
Shoshone  Search this
Indians of North America -- Southwest, New  Search this
Sihasapa Lakota (Blackfoot Sioux)  Search this
Choctaw  Search this
Cochiti Pueblo  Search this
Niuam (Comanche)  Search this
Muskogee (Creek)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Sioux  Search this
Lenape (Delaware)  Search this
Fox  Search this
Hopi Pueblo  Search this
Indians of North America -- Southern States  Search this
Seneca  Search this
Indians of North America -- Great Plains  Search this
Indians of North America -- Plateau  Search this
Indians of North America -- Great Basin  Search this
Type:
Collection descriptions
Archival materials
Albums
Photographs
Date:
circa 1877
Scope and Contents note:
Albums probably assembled by William Henry Jackson, mostly containing portraits of Native American delegates in Washington, D.C. and photographs made on US Geological Surveys (including the Hayden and Powell surveys). Photographs from the field include John K. Hillers' photographs of the Southwest, photographs of Fort Laramie (possibly by Alexander Gardner), Orloff R. Westmann's photographs of Taos Pueblo, and Jackson's photographs of Crow, Shoshoni, Pawnee, and Nez Perce Tribes and related sites. Most of the photographs were made circa 1860s-1870s.

The albums were probably by Jackson while working under Ferdinand V. Hayden for the United States Geological Survey of the Territories. The reason for their creation is uncertain, though it may have been a project set up by Hayden or a continuation of William Henry Blackmore's tradition of publishing albums. Some of the albums include captions pasted from Jackson's Descriptive Catalogue of Photographs of North American Indians (1877) while others have handwritten captions.
Biographical/Historical note:
William Henry Jackson (1843-1942) was an American painter, photographer and explorer. Born in New York, he sold drawings and retouched photographs from an early age. After serving in the Civil War, he opened a photography studio in Omaha, Nebraska, with his brother Edward. As photographer for the US Geological and Geographical Surveys (1870-1878), he documented the American west and published the first photographs of Yellowstone. When the surveys lost funding in 1879, Jackson opened a studio in Denver, Colorado, and also worked for various railroad companies. Many of Jackson's photographs were displayed at the World's Columbian Exhibition in Chicago (1893), for which he was the official photographer.
Local Call Number(s):
NAA Photo Lot 4420
Location of Other Archival Materials:
Original negatives for many of the photographs in this collection can be found in the National Anthropological Archives in the BAE historical negatives.
The National Museum of the American Indian Archives holds William Henry Jackson photographs and negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 4605, MS 4801, Photo Lot 14, Photo Lot 24, Photo Lot 29, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo lot 143, Photo Lot 87-2P, Photo Lot 87-20, and Photo Lot 90-1.
Correspondence from Jackson held in the National Anthropological Archives in MS 4517, MS 4881, MS 4821, and collections of personal papers.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Pueblos  Search this
Genre/Form:
Photographs
Citation:
Photo Lot 4420, William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.4420
See more items in:
William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3579a455e-5931-4e6e-9659-42bb7718b6fd
EDAN-URL:
ead_collection:sova-naa-photolot-4420
Online Media:

Willis G. Tilton collection of photographs of Native Americans

Collector:
Tilton, Willis G.  Search this
Names:
Field Museum of Natural History  Search this
Big Foot, -1890  Search this
Geronimo, 1829-1909  Search this
Photographer:
Dorsey, George A. (George Amos), 1868-1931  Search this
Gutekunst, Frederick, 1831-1917  Search this
Hall, E. E.  Search this
James, George Wharton, 1858-1923  Search this
Maude, F. H. (Frederic Hamer)  Search this
Nelson, Edward William, 1855-1934  Search this
Thompson, J. Eric S. (John Eric Sidney), 1898-1975  Search this
Voth, H. R. (Henry R.), 1855-1931  Search this
Winternitz, Ludwig (Louis)  Search this
Extent:
685 Negatives (circa, glass and nitrate)
Culture:
Pueblo  Search this
Sioux  Search this
Inunaina (Arapaho)  Search this
Apache  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Assiniboine (Stoney)  Search this
Jicarilla Apache  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Kootenai (Kutenai)  Search this
Kickapoo  Search this
Diné (Navajo)  Search this
Kwakwaka'wakw (Kwakiutl)  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Ponca  Search this
Indians of North America -- Great Plains  Search this
Pikuni Blackfeet (Piegan)  Search this
Potawatomi  Search this
Northwest Coast  Search this
Sauk  Search this
Seminole  Search this
Shoshone  Search this
Taos Indians  Search this
Iroquois  Search this
Umatilla  Search this
White Mountain Apache  Search this
Wichita  Search this
Indians of North America -- Northeast  Search this
Arctic peoples  Search this
Hopi Pueblo  Search this
Indians of North America -- Southern States  Search this
Indians of North America -- Great Basin  Search this
Mayas  Search this
Patagonia  Search this
Apsáalooke (Crow/Absaroke)  Search this
Fox  Search this
Eskimos  Search this
Haida  Search this
A'aninin (Gros Ventre)  Search this
Indians of North America -- Northwest Coast of North America  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Chiricahua Apache  Search this
Niuam (Comanche)  Search this
Coast Salish  Search this
Indians of North America -- Southwest, New  Search this
Indians of North America -- Subarctic  Search this
Indians of North America -- Plateau  Search this
Type:
Collection descriptions
Archival materials
Negatives
Place:
Belize
Fort Belknap Indian Reservation (Mont.)
Oraibi (Ariz.)
Date:
circa 1880-1930
bulk 1899-1904
Scope and Contents note:
Photographs collected by Willis G. Tilton, a dealer in artifacts and photographs relating to Native Americans. Many of the photographs were made by Field Columbian Museum photographer Charles Carpenter at the Louisiana Purchase Exposition in 1904; many others were created by various photographers for Field Museum publications. Notable subjects include Big Foot, dead in the snow at the Wounded Knee battlefield; Arapaho and Cheyenne social dances; Hopi ceremonies; a reenactment of the shooting of Sitting Bull; Sun Dances (Arapaho, Assiniboin, Gros Ventre, Blackfoot, Cheyenne, Ponca); and views of the United States Indian School Building and Pawnee people at the the Louisiana Purchase Exposition in St. Louis, Missouri. Other photographs include portraits and images of artifacts, basket weaving, cradles, dress, dwelling, tipis and other dwellings, and tree burials. There are also some photographs of Henry Field's expedition to Iraq in 1934 (Field museum anthropological expedition to the Near East), work elephants in Burma, Pipestone Quarry in Minnesota, a church in the Yucatan, and a rickshaw and cart in Ceylon.
Biographical/Historical note:
Willis G. Tilton was a dealer and owner of the store, Tilton Indian Relics, in Topeka, Kansas.
Local Call Number(s):
NAA Photo Lot 89-8, NAA Photo Lot 135
Location of Other Archival Materials:
Photographs in the Tilton Collection, previously filed in Photo Lot 135, have been relocated and merged with Photo Lot 89-8. These photographs were also purchased by the Bureau of American Ethnology from Willis G. Tilton and form part of this collection.
Associated photographs still held in the Field Museum of Natural History, Chicago.
Most photographs included in the card catalog of copy negatives and in the reference file prints by tribe.
Additional photographs by Dorsey held in the National Anthropological Archives in MS 4721 and Photo Lot 24.
Correspondence from Dorsey held in the National Anthropological Archives in MS 4821, records of the Bureau of American Ethnology, the J.C. Pilling Papers, and the Ales Hrdlicka Papers.
Additional photographs by Nelson held in National Anthropological Archives Photo Lot 171, Photo Lot 133, Photo Lot 24, and the BAE historical negatives.
Additional Maude photographs held in National Anthropological Archives Photo Lot 90-1 and Photo Lot 24.
Additional E. E. Hall photographs held in National Anthropological Archives MS 4978 and Photo Lot 24.
The Smithsonian Institution Archives holds Nelson's field reports (SIA Acc. 97-123) and the Edward William Nelson and Edward Alphonso Goldman Collection (SIA RU007364).
See others in:
Willis G. Tilton photograph collection of American Indians, circa 1880-1930 (bulk 1899-1904)
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Rites and ceremonies  Search this
Wounded Knee Massacre, S.D., 1890  Search this
Sun Dance  Search this
Citation:
Photo Lot 89-8, Willis G. Tilton collection of photographs of Native Americans, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.89-8
See more items in:
Willis G. Tilton collection of photographs of Native Americans
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3754be8a9-31b2-4b22-9fbb-dc5b7dadb75f
EDAN-URL:
ead_collection:sova-naa-photolot-89-8
Online Media:

Charles Milton Bell photographs of Native Americans

Creator:
Bell, C. M. (Charles Milton), approximately 1849-1893  Search this
Names:
Joseph (Nez Percé Chief), 1840-1904  Search this
Lean Wolf.  Search this
Parker, Quanah, 1845?-1911  Search this
Plenty Coups, 1848-1932  Search this
Red Cloud, 1822-1909  Search this
Spotted Tail, 1823-1881  Search this
Extent:
340 Copy prints (circa)
3 Prints (albumen)
333 Glass negatives (wet plate collodion and dry gelatin)
69 Copy negatives
Culture:
Pikuni Blackfeet (Piegan)  Search this
Northwest Coast  Search this
Sauk  Search this
Seminole  Search this
Indians of North America -- Southern States  Search this
Indians of North America -- Great Plains  Search this
Shoshone  Search this
Sisitonwan Dakota (Sisseton Sioux)  Search this
Spokan  Search this
Wichita  Search this
Ho-Chunk (Winnebago)  Search this
Yakama (Yakima)  Search this
Yanktonnai Nakota (Yankton Sioux)  Search this
Indians of North America -- Northeast  Search this
Oto  Search this
Osage  Search this
Kickapoo  Search this
Kaw (Kansa)  Search this
Kiowa  Search this
Plains Apache (Kiowa Apache)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Niimíipuu (Nez Perce)  Search this
Omaha  Search this
Anishinaabe (Chippewa/Ojibwa)  Search this
Cherokee  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Assiniboine (Stoney)  Search this
Sahnish (Arikara)  Search this
Inunaina (Arapaho)  Search this
Indians of North America -- Plateau  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Iowa  Search this
Palouse  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Minitari (Hidatsa)  Search this
Fox  Search this
Lenape (Delaware)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Niuam (Comanche)  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Type:
Collection descriptions
Archival materials
Copy prints
Prints
Glass negatives
Copy negatives
Photographs
Date:
circa 1874-1890
Scope and Contents note:
Portraits of Native Americans made by Charles Milton Bell in his Washington, DC studio. Depicted individuals include Red Cloud, Oglala; Spotted Tail, Brule; Quanah Parker, Comanche; Nawat, Arapaho; Scabby Bull, Arapaho; Wolf Robe, Cheyenne; D. W. Bushyhead, Cherokee; John Jumper, Seminole; Plenty Coups, Crow; Rushing Bear, Arikara; Gall, Hunkpapa; John Grass, Sihasapa; Lean Wolf, Hidatsa; Chief Joseph, Nez Perce; and Lone Wolf, Kiowa; as well as people associated with Pawnee Bill's Wild West Show. The collection also includes copies of some images by other photographers, including G. G. Rockwood and F. T. Cummins.
Biographical/Historical note:
Charles Milton Bell (circa 1849-1893) was the youngest member of a family of photographers that operated a studio in Washington, DC, from around 1860-1874. Bell established his own studio on Pennsylvania Avenue in 1873 and it rapidly became one of the leading photography studios in the city. Bell developed the patronage of Ferdinand Vandeveer Hayden, who sent Native American visitors to the studio to have their portraits made. Bell also made photographs of Native Americans for the Department of the Interior and the Bureau of American Ethnology.
Local Call Number(s):
NAA Photo Lot 80, NAA MS 4661
Location of Other Archival Materials:
Copy prints previously filed in MS 4661 have been relocated and merged with Photo Lot 80. These are also copy prints of Bell negatives that were acquired from Boyce and form part of this collection.
Additional C. M. Bell photographs held in National Anthropological Archives Photo Lot 4420, Photo Lot 24, Photo Lot 60, Photo Lot 81-44, Photo lot 87-2P, and Photo Lot 90-1.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo Lot 80, Charles Milton Bell photographs of Native Americans, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.80
See more items in:
Charles Milton Bell photographs of Native Americans
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw31570c7f1-fd23-4311-ba8e-f7c209dc013d
EDAN-URL:
ead_collection:sova-naa-photolot-80
Online Media:

Bureau of American Ethnology photograph collection relating to Native Americans

Creator:
Smithsonian Institution. Bureau of American Ethnology  Search this
Names:
Smithsonian Institution  Search this
Photographer:
Gardner, Alexander, 1821-1882  Search this
Hillers, John K., 1843-1925  Search this
Jackson, William Henry, 1843-1942  Search this
Michelson, Truman, 1879-1938  Search this
Smillie, T. W. (Thomas William), 1843-1917  Search this
Extent:
2 Prints (etching or engraving)
13 Prints (albumen)
230 Copy prints (circa)
1 Chromolithograph
179 Cyanotypes
200 Prints (circa, silver gelatin)
Culture:
Indians of North America -- Great Basin  Search this
Indians of North America -- Southern States  Search this
Hopi Pueblo  Search this
Sisitonwan Dakota (Sisseton Sioux)  Search this
Sihasapa Lakota (Blackfoot Sioux)  Search this
Tewa Pueblos  Search this
Taos Indians  Search this
Wenatchi Indians  Search this
Indians of North America -- Plateau  Search this
Tuscarora  Search this
Yanktonnai Nakota (Yankton Sioux)  Search this
Yakama (Yakima)  Search this
Iowa  Search this
Ponca  Search this
Dakota (Eastern Sioux)  Search this
Sauk  Search this
Akimel O'odham (Pima)  Search this
Shoshone  Search this
Cayuga  Search this
Cherokee  Search this
Oneida  Search this
Choctaw  Search this
Indians of North America -- Northeast  Search this
Muskogee (Creek)  Search this
Cochiti Pueblo  Search this
Sioux  Search this
Fox  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Apache  Search this
Isleta Pueblo  Search this
Jicarilla Apache  Search this
Klamath  Search this
Laguna Indians  Search this
Menominee (Menomini)  Search this
Diné (Navajo)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Seneca  Search this
Omaha  Search this
Onondaga  Search this
Osage  Search this
Chaticks Si Chaticks (Pawnee)  Search this
Indians of North America -- Southwest, New  Search this
Indians of North America -- Great Plains  Search this
Pueblo  Search this
Type:
Collection descriptions
Archival materials
Prints
Copy prints
Chromolithographs
Cyanotypes
Date:
undated
Scope and Contents note:
Photographs mostly commissioned and collected by personnel in the Bureau of American Ethnology. Most of the photographs are studio portraits of Native Americans made by the Bureau of American Ethnology and Smithsonian Institution, possibly for physical anthropologist Ales Hrdlicka. There are also photographs made by Truman Michelson among the Catawba tribe, copies of illustrations and drawings, and various images of archeological sites and artifacts.
Local Call Number(s):
NAA Photo Lot 87-2M, USNM ACC 42191
Location of Other Archival Materials:
Original negatives for many photographs in this collection held in the National Anthropological Archives in the BAE historical negatives.
Additional Michelson photographs held in National Anthropological Archives Photo Lot 13, Photo Lot 24, MS 2139, and MS 4365-c.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 14, Photo Lot 24, Photo Lot 28, Photo Lot 40, Photo Lot 143, Photo Lot 83-18, Photo Lot 87-2N, Photo Lot 90-1, Photo Lot 92-46, and the BAE historical negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo Lot 143, Photo Lot R82-10, Photo Lot 87-2P, Photo Lot 90-1, Photo Lot 92-3, the records of the Department of Anthropology, and the BAE historical negatives.
Additional Smillie photographs held in the National Museum of American History Archives Center in the Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives and in Smithsonian Institution Archives SIA Acc. 05-123.
Additional Gardner photographs held in National Anthropological Archives Photo Lot 24, Photo Lot 80-18, Photo Lot 87-2P, Photo Lot 90-1, and the BAE historical negatives.
Associated busts and molds held in the Department of Anthropology collections in accession 42191.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Catawba Indians  Search this
Citation:
Photo lot 87-2M, Bureau of American Ethnology photograph collection relating to Native Americans, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.87-2M
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw38ec3245f-6abd-4664-a65e-b51cdda340e6
EDAN-URL:
ead_collection:sova-naa-photolot-87-2m

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

Woman (Sicangu Lakota/Brulé Sioux) carrying firewood. Published as A Heavy Load

Collection Creator:
Curtis, Edward S., 1868-1952  Search this
Extent:
1 Glass negative (original negative)
Container:
Box G2
Type:
Archival materials
Photographs
Glass negatives
Collection Restrictions:
Viewing of the photographic negatives requires advance notice and the permission of the Photo Archivist.

Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Identifier:
NAA.2022-12, Item x2485
See more items in:
Christopher Cardozo Collection of Edward S. Curtis papers and photographs
Christopher Cardozo Collection of Edward S. Curtis papers and photographs / Series 2: Photographs and photogravures / North American Indian / Volume 3
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3f41df9cf-4921-4dc4-9554-d56c74ea204e
EDAN-URL:
ead_component:sova-naa-2022-12-ref43

General Photograph collections

Collector:
National Museum of the American Indian (U.S.)  Search this
Names:
Geronimo, 1829-1909  Search this
Extent:
25 Photographs
Culture:
Sicangu Lakota (Brulé Sioux)  Search this
Tlingit  Search this
Indians of North America  Search this
Anishinaabe (Chippewa/Ojibwa)  Search this
Kiowa  Search this
Chiricahua Apache  Search this
Type:
Collection descriptions
Archival materials
Photographs
Date:
1886-1913
Summary:
The General Photograph collections contains photographs depicting people, events, and activities related to the historical and contemporary lives of Native peoples throughout the Western Hemisphere.
Scope and Contents:
The General Photograph collections is comprised of individual small collections of photographs that were acquired by the Archive Center from various sources. These small collections are presented together under a single collection for easy access and depict the historical and contemporary lives of Native peoples throughout the Western Hemisphere.
Arrangement:
This collection is organized in folders by accession numbers.
Biographical / Historical:
The photographs in this collection were shot by a variety of photographers and depict many different people and scenes. For specific biographical and historical notes please see individual photographs listed in this guide.
Provenance:
The National Museum of the American Indian and its predecessor, Museum of the American Indian, acquired the photographs in this collection from 1916 to the present.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); General Photograph collections, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.999
See more items in:
General Photograph collections
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4f939fe05-6395-40b0-a532-f614b2f7ac5d
EDAN-URL:
ead_collection:sova-nmai-ac-999
Online Media:

2015.0020- Postcard of Hollow Horn Bear's funeral

Collection Collector:
National Museum of the American Indian (U.S.)  Search this
Extent:
1 Photograph
Container:
Photo-folder 2015.0020
Type:
Archival materials
Photographs
Photographs
Date:
1913
Scope and Contents:
Gelatin silver postcard photographed by E. L. Woodin on March 16, 1913 and depicts the funeral of Chief Mato He Hlogeca, also known as Hollow-Horn Bear of the Sicangu Lakota (Brulé Sioux) tribe. The photograph depicts pallbearers carrying a casket out of St. Paul's Church (now St. Augustine Church) on 15th and V streets, NW in Washington, DC. Behind the casket are six American Indian Chiefs (although only one is visible) and include Richard Wallace [Apsáalooke (Crow/Absaroke)], John Carl (Chippewa/Ojibwa), Thomas L. Sloan (Omaha), P.H. Kennerly (Blackfeet), J.N.B. Hewitt (Seneca), and Joseph Craig (Umatilla).

A handwritten description about Hollow Horn Bear's death and funeral is on the back of the photograph, possibly written by the photographer.
Provenance:
The photograph was donated by Kai Schafft in 2015.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); General Photograph collections, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
General Photograph collections
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv489646d87-1699-42d1-a901-04c066ca5d0b
EDAN-URL:
ead_component:sova-nmai-ac-999-ref3

Edward S. Curtis photogravure plates and proofs for The North American Indian

Photographer:
Curtis, Edward S., 1868-1952  Search this
Extent:
96 Photomechanical prints (photogravure proofs)
184 Printing plates (copper printing plates)
Culture:
Twana  Search this
Hoh  Search this
Walla Walla (Wallawalla)  Search this
Wishram  Search this
Suquamish  Search this
Skokomish  Search this
Quinault  Search this
Quileute  Search this
Apache  Search this
Tolowa  Search this
Hupa  Search this
Hopi Pueblo  Search this
Squaxon  Search this
Mewuk (Miwok)  Search this
Achomawi (Pit River)  Search this
Klamath  Search this
Yurok  Search this
Kumeyaay (Diegueño)  Search this
Cayuse  Search this
Northern Paiute (Paviotso)  Search this
Santa Ysabel (Santa Isabela) Diegueño  Search this
Kalispel (Pend d'Oreilles)  Search this
Salish (Flathead)  Search this
Spokan  Search this
Yakama (Yakima)  Search this
Sahnish (Arikara)  Search this
Numakiki (Mandan)  Search this
Pikuni Blackfeet (Piegan)  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Niimíipuu (Nez Perce)  Search this
A'aninin (Gros Ventre)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Tsuu T'ina (Sarcee)  Search this
Kainai Blackfoot (Kainah/Blood)  Search this
Denésoliné (Chipewyan)  Search this
Cree  Search this
Ohkay Owingeh (San Juan Pueblo)  Search this
San Ildefonso Pueblo  Search this
Tewa Pueblos  Search this
A:shiwi (Zuni)  Search this
Kewa (Santo Domingo Pueblo)  Search this
K'apovi (Santa Clara Pueblo)  Search this
Laguna Pueblo  Search this
Jemez Pueblo  Search this
Serrano  Search this
Washoe (Washo)  Search this
Kutzadika'a (Mono Paiute)  Search this
Kupangaxwichem (Kupa/Cupeño)  Search this
Piipaash (Maricopa)  Search this
Diné (Navajo)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Quechan (Yuma/Cuchan)  Search this
Hualapai (Walapai)  Search this
Akimel O'odham (Pima)  Search this
Tohono O'odham (Papago)  Search this
Mojave (Mohave)  Search this
Niuam (Comanche)  Search this
Wichita  Search this
Ponca  Search this
Osage  Search this
Yokuts  Search this
Chukchansi Yokuts  Search this
Southern Mewuk (Southern Miwok)  Search this
Wailaki  Search this
Pomo  Search this
Wappo  Search this
Maidu  Search this
Type:
Collection descriptions
Archival materials
Photomechanical prints
Printing plates
Photogravures
Photographs
Date:
1899-1927
circa 1980
Summary:
The Edward S. Curtis photogravure plates and proofs for The North American Indian include photogravure printing plates and associated proofs made from Curtis photographs and used in the publication of The North American Indian volumes 1-9 and 12-19. The bulk of the images are portraits, though there are also images of everyday items, ceremonial artifacts, and camps.
Scope and Contents:
The collection comprises 183 photogravure plates (101 folio and 82 octavo) and 96 associated proofs used in the printing of The North American Indian volumes 1-9 and 12-19. The original photographs used to make the photogravures were made circa 1903-1926 and the photogravure plates were made in 1907-1930. The bulk are portraits, though there are also images of everyday items, ceremonial artifacts, and camps. About half of the proofs in the collection are originals used for Curtis's publication, though the collection also includes proofs made in the process of later publication by the Classic Gravure Company (circa 1980). Vintage proofs include handwritten notes, likely made by Curtis Studio employees in Seattle and Los Angeles. Many of the photogravure plates do not have matching proofs; in particular, there are no proofs for the octavo plates.
Arrangement:
The plates and proofs are arranged by the volume of The North American Indian in which they were published. They are described in this finding aid by the caption and plate number with which they were published.
Biographical / Historical:
Edward Sheriff Curtis (1868-1952) was an American photographer best known for his monumental and now-controversial project, the twenty-volume publication The North American Indian. Here he sought to document in words and pictures the "vanishing race" of American Indians.

Born in Wisconsin in 1868, Edward Curtis grew up on his family's farm in Le Sueur County, Minnesota, from 1874 to 1887. In 1887, he and his father Johnson Curtis settled on a plot near what is now Port Orchard, Washington, and the rest of the family joined them the following year. When Johnson Curtis died within a month of the family's arrival, the burden of providing for his mother and siblings fell to 20-year-old Edward, and Edward set out to do so through his photography. In 1891, Curtis moved to the booming city of Seattle and bought into a joint photo studio with Rasmus Rothi. Less than a year later, he formed "Curtis and Guptill, Photographers and Photoengravers" with Thomas Guptill; the enterprise quickly became a premier portrait studio for Seattle's elite. In 1895, Curtis made his first "Indian photograph" depicting Princess Angeline, daughter of the chief for whom Seattle had been named. The following year he earned his first medal from the National Photographic Convention for his "genre studies."

In 1899, Edward Curtis joined the Harriman Alaska Expedition as official photographer, a position which allowed him to learn from anthropologists C. Hart Merriam and George Bird Grinnell while documenting the landscapes and peoples of the Alaskan coast. This expedition and the resulting friendship with Grinnell helped to foster Curtis's ultimate goal 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 North American Indian). Curtis made several trips to reservations from 1900 to 1904, including a trip with Grinnell to Montana in 1900 and multiple trips to the Southwest, including the Hopi Reservation. He also hired Adolph Muhr, former assistant to Omaha photographer Frank A. Rinehart, to manage the Curtis studio in his absence, a decision which would prove more and more fruitful as Curtis spent less and less time in Seattle.

In 1906, Curtis struck a deal with financier J. P. Morgan, whereby Morgan would support a company – The North American Indian, Inc. – with $15,000 for five years, by which time the project was expected to have ended. Systematic fieldwork for the publication began in earnest that summer season, with Curtis accompanied by a team of ethnological researchers and American Indian assistants. Arguably the most important member of Curtis' field team was William Myers, a former newspaperman who collected much of the ethnological data and completed most of the writing for the project. The first volume, covering Navajo and Apache peoples, was published at the end of 1907, but already Morgan's funding was incapable of meeting Curtis's needs. Despite heaping praise from society's elite, Curtis spent much of his time struggling to find people and institutions willing to subscribe to the expensive set of volumes. After the initial five years, only eight of the proposed twenty volumes had been completed. Fieldwork and publication continued with the support of J. P. Morgan, but Curtis's home life suffered because of his prolonged absences.

In 1919, Curtis's wife Clara was awarded a divorce settlement which included the entire Curtis studio in Seattle. Exhausted and bankrupt, Edward Curtis moved with his daughter Beth Magnuson to Los Angeles, where they operated a new Curtis Studio and continued work on the volumes; volume 12 was published in 1922. The constant financial strain forced Myers to leave the North American Indian team after volume 18 (fieldwork in 1926) and Curtis made his last trip to photograph and gather data for volume 20 in 1927. After the final volumes were published in 1930, Curtis almost completely faded from public notice until his work was "rediscovered" and popularized in the 1970s.

Curtis's "salvage ethnology," as scholar Mick Gidley describes it, was mildly controversial even during his life and has become ever more so as his legacy deepens. In his quest to photograph pre-colonial Indian life through a twentieth-century lens, he often manipulated and constructed history as much as he recorded it: he staged reenactments, added props, and removed evidence of twentieth-century influences on "primitive" life. Curtis's work continues to shape popular conceptions of American Indians and so, while problematic, his legacy--his vision of American Indian life--continues to be relevant.
Related Materials:
NMAI also holds Edward Curtis photographs documenting the Harriman Expedition (1899) as well as platinum prints and photogravures of the images published in The North American Indian.

The Smithsonian Institution, National Anthropological Archives holds Edward Curtis prints submitted for copyright (Photo Lot 59) as well as many of his original negatives, photographs, and papers.

Steve Kern donated photogravure plates to the Center for Creative Photography and the Seattle Art Museum at the same time that he donated this set to MAI.
Provenance:
This collection was donated by Steven and Arlene Kern to the Museum of the American Indian, Heye Foundation, in 1984.
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 broadcast 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.
Topic:
Indians of North America -- Pictorial works  Search this
Genre/Form:
Photogravures
Photographs
Citation:
Identification of specific item; Date (if known); Edward S. Curtis photogravure plates and proofs for The North American Indian, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.080
See more items in:
Edward S. Curtis photogravure plates and proofs for The North American Indian
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv47bb7e1cf-cd0f-42a1-ac5b-8ee402c1ab8f
EDAN-URL:
ead_collection:sova-nmai-ac-080
Online Media:

Matie Barry Moore collection of David F. Barry copy prints

Creator:
Barry, D. F. (David Francis), 1854-1934  Search this
Names:
Buffalo Bill, 1846-1917  Search this
Curly, approximately 1856-1923  Search this
Custer, George Armstrong, 1839-1876  Search this
Gall, approximately 1840-1894  Search this
Goff, O. S. (Orlando Scott), 1843-1917  Search this
Grass, John Chief  Search this
Joseph (Nez Percé Chief), 1840-1904  Search this
Rain in the Face, approximately 1835-1905  Search this
Red Cloud, 1822-1909  Search this
Sitting Bull, 1831-1890  Search this
Extent:
40 Copy prints (black and white, 8x10 )
Culture:
Niimíipuu (Nez Perce)  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Oglala Lakota (Oglala Sioux)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Sihasapa Lakota (Blackfoot Sioux)  Search this
Ihanktonwan Nakota (Yankton Sioux)  Search this
Type:
Collection descriptions
Archival materials
Copy prints
Date:
1874-1897
Summary:
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. Peterson. 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 Peterson 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. Peterson, 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.
Identifier:
NMAI.AC.334
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv45a80fee0-7174-4620-8c3e-547e4ee354ed
EDAN-URL:
ead_collection:sova-nmai-ac-334

John Andrew & Son photogravures of Edward S. Curtis portraits of Native Americans

Photographer:
Curtis, Edward S., 1868-1952  Search this
Names:
John Andrew & Son  Search this
American Horse, 1840-1908  Search this
Extent:
3 Prints (photogravure)
Culture:
Indians of North America -- Great Plains  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Oglala Lakota (Oglala Sioux)  Search this
A'aninin (Gros Ventre)  Search this
Assiniboine (Stoney)  Search this
Type:
Collection descriptions
Archival materials
Prints
Photogravures
Photographs
Date:
circa 1908
Scope and Contents:
Photogravures made from Edward S. Curtis portraits of American Horse, Oglala; Hollow Horn Bear, Brule; and an Assiniboine/Gros Ventre man. Curtis copyrighted the original photographs in 1907 and 1908.
Biographical / Historical:
Edward Sheriff Curtis (1868-1952) was a professional photographer known for his images of Native Americans and of the American West. Born in Wisconsin, Curtis moved with his family to Cordova, Minnesota, shortly after his brother's birth in 1874. In 1887, Curtis moved again with his father to Seattle in the Washington Territory, where he built partnerships with several area photographers. Around 1895 Curtis began to photograph American Indians in the Seattle area. He joined the 1899 Harriman Expedition to Alaska as the expedition's official photographer and spent the summer of 1900 with George Bird Grinnell on a trip to document the Sun Dance on the Piegan Reservation in Montana. These experiences fueled Curtis' interest in American Indians and their culture and he set out to document every North American tribe before they "vanished." These photographs became the basis for his twenty volume "The North American Indian," a set of books which combined ethnographic descriptions and high-quality photogravures.
Local Call Number(s):
NAA Photo Lot 84-8
Location of Other Archival Materials:
Additional Curtis photographs held in National Anthropological Archives in the Edward S. Curtis papers and photographs, Photo Lot 24, Photo Lot 59, Photo Lot 90-1, Photo Lot 96-17, and the BAE historical negatives.

The National Anthropological Archives also holds the Edward S. Curtis investigation of the Battle of Little Bighorn (MS 2000-18).

Curtis photographs also held in the National Museum of the American Indian Archives in the Edward S. Curtis photogravure plates and proofs for The North American Indian and Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photogravures
Photographs
Citation:
Photo lot 84-8, John Andrew & Son photogravures of Edward S. Curtis portraits of Native Americans, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.84-8
See more items in:
John Andrew & Son photogravures of Edward S. Curtis portraits of Native Americans
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw371068454-7663-4794-a0f8-6af1a3d2b60a
EDAN-URL:
ead_collection:sova-naa-photolot-84-8

Copies of David F. Barry photographs of Plains Indians

Creator:
Barry, D. F. (David Francis), 1854-1934  Search this
Names:
Barry, D. F. (David Francis), 1854-1934  Search this
Buffalo Bill, 1846-1917  Search this
Curly, approximately 1856-1923  Search this
Custer, George Armstrong, 1839-1876  Search this
Low Dog (Dakota Oglala)  Search this
Rain in the Face, approximately 1835-1905  Search this
Red Cloud, 1822-1909  Search this
Running Antelope (Dakota Oglala)  Search this
Sitting Bull, 1831-1890  Search this
Spotted Tail, 1823-1881  Search this
Young Man Afraid of His Horse, ca. 1830-1900  Search this
Extent:
24 Copy prints
Culture:
Minitari (Hidatsa)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Sihasapa Lakota (Blackfoot Sioux)  Search this
Sicangu Lakota (Brulé Sioux)  Search this
Indians of North America -- Great Plains  Search this
Oglala Lakota (Oglala Sioux)  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Type:
Collection descriptions
Archival materials
Copy prints
Photographs
Date:
circa 1870-1890
Scope and Contents note:
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.
Topic:
Comanche (Horse)  Search this
Little Bighorn, Battle of the, Mont., 1876  Search this
Genre/Form:
Photographs
Citation:
Photo lot R81-71, Copies of David F. Barry photographs of Plains Indians, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.R81-71
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw31387757f-7a51-4f08-9ac7-d3beb0000471
EDAN-URL:
ead_collection:sova-naa-photolot-r81-71

Volume 3

Collection Photographer:
Curtis, Edward S., 1868-1952  Search this
Extent:
3 Prints
6 Photomechanical prints
Container:
Box 8vo3
Box F5-F6
Type:
Archival materials
Photographs
Prints
Photomechanical prints
Date:
1907-1908
Scope and Contents:
This series includes four folio plates and two octavo plates depicting Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux) men and women and two scalp shirts. It also has three proofs made by Classic Gravure from folio plates in the collection.
Collection 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).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast 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.
Collection Citation:
Identification of specific item; Date (if known); Edward S. Curtis photogravure plates and proofs for The North American Indian, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.080, Series 3
See more items in:
Edward S. Curtis photogravure plates and proofs for The North American Indian
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv47d74c66d-ebdc-4d54-8997-b815f8a46146
EDAN-URL:
ead_component:sova-nmai-ac-080-ref8

Pipebag

Culture/People:
probably Sicangu Lakota [Rosebud Sioux] (attributed)  Search this
Possible collector:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Previous owner:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Reverend Frank R. Jones (Frank Richard Jones), Non-Indian, 1876-1948  Search this
Kate Jones (Kate Muriel Biller/Mrs. Frank R. Jones), Non-Indian, 1887-1972  Search this
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Donor:
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Object Name:
Pipebag
Media/Materials:
Deerhide/deerskin, glass bead/beads, porcupine quills, thread
Techniques:
Sewn, lazy/lane stitch beadwork , quill-wrapped (flat), fringed
Dimensions:
143 x 19 x 5 cm
Object Type:
Bags/Pouches (and parts)
Place:
Rosebud Reservation; Todd County; South Dakota; USA (inferred)
Date created:
circa 1900
Catalog Number:
25/3881
Barcode:
253881.000
See related items:
Sicangu Lakota [Rosebud Sioux]
Bags/Pouches (and parts)
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws6a735391b-7484-488b-96a1-9d347747df5e
EDAN-URL:
edanmdm:NMAI_269584
Online Media:

Pipe bowl

Culture/People:
probably Sicangu Lakota [Rosebud Sioux] (attributed)  Search this
Possible collector:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Previous owner:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Reverend Frank R. Jones (Frank Richard Jones), Non-Indian, 1876-1948  Search this
Kate Jones (Kate Muriel Biller/Mrs. Frank R. Jones), Non-Indian, 1887-1972  Search this
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Donor:
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Object Name:
Pipe bowl
Media/Materials:
Catlinite/pipestone
Techniques:
Carved, polished
Dimensions:
23 x 3 x 13 cm
Object Type:
Pipes and Smoking
Place:
Rosebud Reservation; Todd County; South Dakota; USA (inferred)
Date created:
circa 1900
Catalog Number:
25/3882
Barcode:
253882.000
See related items:
Sicangu Lakota [Rosebud Sioux]
Pipes and Smoking
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws67fdc1e46-fe00-410e-a187-e1070a3a8386
EDAN-URL:
edanmdm:NMAI_269585
Online Media:

Pipestem

Culture/People:
probably Sicangu Lakota [Rosebud Sioux] (attributed)  Search this
Possible collector:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Previous owner:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Reverend Frank R. Jones (Frank Richard Jones), Non-Indian, 1876-1948  Search this
Kate Jones (Kate Muriel Biller/Mrs. Frank R. Jones), Non-Indian, 1887-1972  Search this
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Donor:
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Object Name:
Pipestem
Media/Materials:
Catlinite/pipestone
Techniques:
Carved, polished
Dimensions:
40 x 2.5 x 2.5 cm
Object Type:
Pipes and Smoking
Place:
Rosebud Reservation; Todd County; South Dakota; USA (inferred)
Date created:
circa 1900
Catalog Number:
25/3883
Barcode:
253883.000
See related items:
Sicangu Lakota [Rosebud Sioux]
Pipes and Smoking
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws60e735b71-b27b-488f-946f-6ad0210acec9
EDAN-URL:
edanmdm:NMAI_269586
Online Media:

Pipe tamper

Culture/People:
probably Sicangu Lakota [Rosebud Sioux] (attributed)  Search this
Possible collector:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Previous owner:
Bishop George Biller, Non-Indian, 1874-1915  Search this
Edna Biller (Edna Peninger/Mrs. George Biller, Jr.), Non-Indian, 1879-1952  Search this
Reverend Frank R. Jones (Frank Richard Jones), Non-Indian, 1876-1948  Search this
Kate Jones (Kate Muriel Biller/Mrs. Frank R. Jones), Non-Indian, 1887-1972  Search this
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Donor:
Richard G. Taggart (Richard Gordon Taggart), Non-Indian, 1928-1997  Search this
Doris C. Taggart (Doris Lu Cyphers/Mrs. Richard G. Taggart), Non-Indian, 1927-1997  Search this
Object Name:
Pipe tamper
Media/Materials:
Wood
Techniques:
Carved
Dimensions:
15.5 x 1.5 cm
Object Type:
Pipes and Smoking
Place:
Rosebud Reservation; Todd County; South Dakota; USA (inferred)
Date created:
circa 1900
Catalog Number:
25/3884
Barcode:
253884.000
See related items:
Sicangu Lakota [Rosebud Sioux]
Pipes and Smoking
Data Source:
National Museum of the American Indian
GUID:
http://n2t.net/ark:/65665/ws64aab503c-fe4a-4fa9-a65a-8b9edf0e7147
EDAN-URL:
edanmdm:NMAI_269587
Online Media:

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