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.
Indians of North America -- Southern states 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
Group of Men in Native Dress, One Wearing Plains-Style Fringed Buckskin Shirt, with Non-Native Man and Two Women Outside Tent Beside River; Pueblo in Distance
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Tintypes
Chromolithographs
Lithographs
Prints
Pages
Photographs
Newspapers
Woodcuts
Place:
Mexico
Taos Pueblo (N.M.)
California
Oregon
Fort Davis (Tex.)
New Mexico
Fort Snelling (Minn.)
Arizona
Texas
San Juan Pueblo (N.M.)
Zuni (N.M.)
Kansas
Colorado
Date:
circa 1863-1900
Summary:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
Scope and Contents:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.
Biographical Note:
James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).
Local Call Number(s):
NAA Photo Lot 4605
Related Materials:
The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.
Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.
Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.
Pywell photographs held in National Anthropological Archives Photo Lot 4498.
O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.
Provenance:
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.
Indians of North America -- Great Basin Search this
Type:
Collection descriptions
Archival materials
Negatives (photographic)
Copy prints
Place:
Yosemite National Park (Calif.)
Washington (D.C.)
Florida
Yellowstone National Park
Colorado
Date:
mid-19th - early 20th century
Scope and Contents note:
Copies of photogaphs selected from the George Eastman House collection by Bureau of American Ethnology archivist Margaret Blaker in 1962. Many of the photographs are individual or group portraits of American Indians and some highlight pottery, baskets, and cradleboards. There are also images of American Indian dwellings, including tipis and hogans; pueblos; dances; and an encampment during the Modoc War and Plains Indian prisoners at Fort Marion, Florida (1870s).
Expedition photos in the collection were made on T. O. Selfridgeʹs Darien Expedition (1870-1871), the Wheeler surveys (1871-1874), and the Hayden Geological Survey (1871). The collection also includes portraits of Frederick Douglass, Sitting Bull, and John A. Logan; and images from Buffalo Bill's Wild West Show; Company F of New York's 140th Volunteer Infantry; and the Smithsonian in Washington, DC.
Local Call Number(s):
NAA Photo Lot R79
Reproduction Note:
Copy negatives made by George Eastman House, 1962.
Copy prints made by the Smithsonian, 1962-1963.
Location of Other Archival Materials:
The National Anthropological Archives holds vintage prints for many of the photographs copied in this collection, including in Photo lot 4501, Photo Lot 4605, and Photo Lot 90-1.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
The images were acquired for reference purposes and cannot be reproduced. Copies may be obtained from George Eastman House, International Museum of Photography and Film.
This collection contains 46 gelatin silver and albumen prints that depict the southwest Indigenous peoples and landscapes from around 1880-1914.
Scope and Contents:
This collection contains 46 gelatin/albumen silver prints that were in the collection of Douglas D. Graham. The photographs represent portraits and landscapes of the southwest around 1880-1914. Some photographs were taken by Ben Wittick (6), John K. Hillers (2), and Colonel Frank. C. Churchill (1).
Arrangement:
Arranged in folders by print catalog number.
Biographical / Historical:
Douglas D. Graham was born in New York in 1849 and died in 1914. Graham was a U.S. Indian Agent at Zuni, New Mexico from 1870 to about 1906. During this time, he was also a teacher and superintendent at a local school.
Provenance:
This collection was donated to the Museum of the American Indian (MAI) in 1959 by Graham's nieces: Evelyn Brinckerhoff Lent (Mrs. Ward S. Lent, 1890-1970); Heloise Graham Brinckerhoff Oman (Mrs. Charles M. Oman, 1885-1966); Beatrice Brinckerhoff Young (Mrs. Alexander M. Young, 1895-1973); and Mary Franklin Brinckerhoff Van Houten (Mrs. John M. Van Houten, 1894-1964).
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Douglas D. Graham photographs of the Southwest, image #, NMAI.AC.313; National Museum of the American Indian Archives Center, Smithsonian Institution.
Indians of North America -- Great Plains Search this
Type:
Collection descriptions
Archival materials
Pamphlets
Stereographs
Color postcards
Color prints
Copy negatives
Copy prints
Prints
Place:
Tesuque Pueblo (N.M.)
Date:
circa 1880-1950
Scope and Contents note:
Ed Brady's collection of photographs and postcards of Native American camps, people, crafts, schools, and dances, as well as agency personnel at various reservations. A majority of the original prints are photographs by Lee Moorhouse, including images of American Indian dwellings, camps, Kate Drexel School, children in cradleboards, and formal and informal portraits. Additionally, there are photographs made by E. Potts at Tesuque Pueblo on November 12, 1924 during the feast day; images are mostly of Tewa people dancing the Buffalo-Deer Dance.
The collection also includes a stereograph depicting Taos people in front of Taos Pueblo, as well as photographic postcards of Omaha men in Walthill, Nebraska, American Indians at a camp in Idaho, Indians at a camp near International Falls, Minnesota, a Navajo camp in Arizona, an elevated view of a camp with numerous tipis, possibly for a rodeo, two Alaskan Eskimo girls, and a reenactment of the Battle of Little Bighorn aftermath. There is also a pamphlet entitled "Old Travois Trails," from 1941, which was possibly originally collected by Dr. W. A. Russell, a doctor for the Fort Peck Agency.
Local Call Number(s):
NAA Photo Lot 90-8, NAA Photo Lot 81-39, NAA Photo Lot 89-28
Location of Other Archival Materials:
Photo Lot 81-39 has been relocated and merged with Photo Lot 90-8. These photographs were also collected by Ed Brady and form part of this collection.
Brady also donated Indian police badges to the Department of Anthropology in accessions 343151 and 378681.
Additional photographs by Moorhouse can be found in the National Anthropological Archives in Photo Lot 78 and the BAE historical negatives.
The University of Oregon Special Collections holds a large collection of Lee Moorhouse photographs, 1888-1925 (PH036).
Additional photographs published by the Keystone View Company can be found in the National Anthropological Archives in MS 4551, Photo Lot 140 and Photo Lot 90-1.
The University of Washington holds Ed Brady photographs of the Mount St. Helens Eruption (PH Coll 889).
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.
Scope and Content Note:
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.
Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.
Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.
Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.
Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.
Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.
Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.
Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.
Some images and language in these manuscripts may be offensive to viewers. It is presented as it exists in the original documents for the benefit of research. This material in no way reflects the views of the Archives of American Art or the Smithsonian Institution.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)
Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)
Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)
Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)
Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)
Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)
Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)
Biographical Note:
Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.
In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.
Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.
While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.
Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.
Related Material:
Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.
Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.
Provenance:
The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.
Restrictions:
Use of the original papers requires an appointment.
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.
Eastern Band of Cherokee Indians of North Carolina
Date:
1932-1958
Summary:
These are the papers of Washington, D.C. attorney James E. Curry, whose legal career included work both as a government attorney and in his own private practice. The bulk of the papers reflect his private practice in the area of Indian affairs.
Scope and Contents:
The material in the collection includes documents relating to many aspects of Curry's career but most of it relates to his work with Indian tribes and the National Congress of American Indians. For the most, the collection is made up of such materials as letters exchanged with government officials, Indians, and other attorneys; copies of legal documents; published government documents; notes; and clippings and other printed materials. Of particular significance is a subject file relating to Indian affairs. It includes material concerning affairs of Alaskan natives and the Aleut (Akutan, Pribilof Islands), Apache (including Fort Sill, Jicarilla, Mescalero, San Carlos White Mountain), Arapaho (Southern), Assiniboine (Fort Belknap, Fort Peck), Bannock (including Fort Hall), Blackfeet, Caddo, Catawba, Cherokee (Eastern), Cheyenne (Northern, Southern), Chickahominy, Chickasaw, Chippewa (including Lac Courte Oreilles), Choctaw, Cochiti, Cocopa, Coeur d'Alene, Colville, Comanche, Creek, Croatan, Crow, Dakota (Big Foot, Cheyenne River, Crow Creek, Devil's Lake, Flandreau, Fort Totten, Lower Brule, Mdewakanton, Oglala, Rosebud, Santee, Sisseton-Wahpeton, Standing Rock, Yankton), Delaware, Eskimo (including Gambell, Kiana), Flathead, Fox, Haida (including Kasaan), Havasupai, Hopi, Iroquois (Caughnawaga, Seneca, St. Regis), Isleta, Jemez, Kalilspel, Kansa (Kaw), Kickapoo, Kiowa, Klamath, Kutenai, Laguna, Lummi, Maricopa (Gila River, Salt River), Menominee, Missouria, Mohave (Fort Mohave), Mohave Apache (Fort McDowell), Muckleshoot, Navaho, Nez Perce, Niska, Nooksak, Omaha, Osage, Oto, Papago, Paiute (Fallon, Fort McDermitt), Moapa, Pyramid Lake, Shivwits, Walker River, Yerington), Pima (Gila River, Salt River), Potowatomi, Quinaielt, San Felipe, San Ildefonso, San Juan, Santa Ana, Santa Clara, Sandia, Sauk, Seminole (Florida, Oklahoma), Seneca, Seri, Shawnee (Eastern), Shoshoni (including Fort Hall), Sia, Spokan, Stockbridge, Taos (Pyote clan), Tesuque, Three Affiliated Tribes (Mandan, Arikara, and Hidatsa), Tillamook, Tlingit (including Angoon, Craig, Juneau, Kake, Ketchikan, Klawak, Klukwan, Taku, Wrangell), Tsimshian (Metlakatla), Umatilla, Ute (including Uintah-Ouray), Walapai, Washo, Wesort, Winnebago, Wyandot, Yakima, Yaqui, Yavapai, Yuma, and Zuni. There are also materials relating to Curry's work with the Bureau of Indian Affairs and National Congress of American Indians, and material that reflects his interest in conditions and events in given locations (often filed by state) and in organizations with interest in Indians. The material relating to Curry's work in Puerto Rico has been deposited in the Archivo General de Puerto Rico, Instituto de Cultura Puertorriquena, in San Juan.
Arrangement note:
The James E. Curry Papershave been arranged into 6 series: (1) Daily Chronological Files, 1941-1955; (2) Subject Files Regarding Indian Affairs, bulk 1935-1955; (3) Miscellaneous Files Regarding Indian Affairs, bulk 1947-1953; (4) Non-Indian Affairs, n.d.; (5) Puerto Rico Work, 1941-1947; (6) Miscellany, undated.
Biographical/Historical note:
James E. Curry was trained in law in Chicago and practiced in that city from 1930 until 1936, serving part of that time as secretary of the local branch of the American Civil Liberties Union. From 1936 to 1938, he was an attorney with the United States Department of the Interior Bureau of Indian Affairs, being largely involved with matters of credit affecting Indians. From 1938 to 1942, he continued service with the Interior Department but worked in several capacities involving the Puerto Rico Reconstruction Administration, the department's Consumers' Counsel Division, and the Puerto Rico Water Resources Authority.
In 1945, Curry returned to Washington and set up private practice, also maintaining for a time an office in Puerto Rico. In Washington, he became the attorney for the National Congress of American Indians and from that time until the 1950s his practice increasingly involved representation of American Indian tribes, mostly in claims against the federal government. In this work, for a time, he was involved in business relations with a New York Law firm that included Henry Cohen, Felix Cohen, and Jonathan Bingham.
He also often worked closely with lawyers who lived near the tribes he represented, William L. Paul, Jr., of Alaska, for example. This aspect of his practice--representing Indian tribes--was largely broken up during the early 1950s when the Commissioner of Indian Affairs began to use his powers to disapprove contracts between Curry and the tribes. In 1952 and 1953, his official relationship with the National Congress of American Indians was also ended. After this, while Curry continued until his death to act as a consultant in Indian claims with which he had earlier been involved, his career and life developed in a different direction.
Related Materials:
Additional material relating to James E. Curry can be found in the records of the National Congress of American Indians, also located at the National Museum of the American Indian Archive Center.
Provenance:
The Curry papers were originally donated to the National Anthropological Archives by James E. Curry's daughter Mrs. Aileen Curry-Cloonan in December 1973. In 2007 The Curry papers were transferred from the National Anthropological Archives to the National Museum of the American Indian Archive Center along with several other records concerning American Indian law and political rights.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Genre/Form:
Notes
Letters
Clippings
Legal documents
Citation:
Identification of specific item; Date (if known); James E. Curry papers, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection includes 47 photographic prints made by German born photographer Rolf Tietgens in 1933-1934 and 1940-1944 on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico. Communities photographed in South Dakota include the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux). Communities photographed in Arizona and New Mexico include—Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache.
Scope and Contents:
This collection includes 47 photographic prints made by German born photographer Rolf Tietgens on a brief trip to the United States in 1933-1934 and in 1940-1944 after moving permanently to New York. Some of the photographs that were made on his 1933-1934 trip were later published in a 1936 book called Die Regentrommel (The Rain Drum).
The photographs include outdoor portraits and landscape views on the Pine Ridge Reservation in South Dakota and in various locations across Arizona and New Mexico These were shot among the Oglala Lakota (Oglala Sioux) and Sicangu Lakota (Brulé Sioux) communities in South Dakota and among the Laguna Pueblo, K'apovi (Santa Clara Pueblo), Diné (Navajo), Tesuque Pueblo, Hopi Pueblo, Taos Pueblo and Apache in Arizona and New Mexico. One of the more famous portraits includes an image of Chief Blackhorn (Tahe Sapa/Hah-Sah-Pah/Black Horn) [Sicangu Lakota (Brulé Sioux)], likely shot in 1941. Many of the portraits remain unidentified.
Many the photographs depict ceremonial dances and have been restricted due to cultural sensitivity. There are also several duplicate images within the collection.
Catalog numbers include P23663-P23709.
Arrangement:
Arranged by catalog number.
Biographical / Historical:
Rolf Tietgens was born in Hamburg, Germany in 1911. In 1933 Tietgens first visited the United States, where he made a series of photographs of Native Americans, published in Germany as a book, Die Regentrommel (The Rain Drum), in 1936. As a filmmaking student in Berlin, Tietgens worked for Leni Riefenstahl as a cameraman on Olympia (1936). He then moved to New York, where he opened his own photography studio (1938). His work was featured in "Photographing New York City," an exhibition of Photo League photographers at the New School for Social Research in 1939. Despite his successful career as a photographer for numerous American magazines, Tietgens was interred as an enemy alien in Santa Fe, New Mexico, in 1942–43, during World War II. Naturalized in 1944, he continued to work as a commercial photographer through the fifties until 1964 when he began a second career as a painter, a pursuit that he followed until his death in 1984.
Provenance:
Bequest of Rolf Tietgens, 1985 [P23675-P23709] and gift of Keith De Lellis, 1987 [P23663-P23674].
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Some photographs restricted due to cultural sensitivity.
Rights:
NMAI does not own the copyright to these photographs. Permission to publish will need to be acquired from the Estate.
Genre/Form:
Photographic prints
Citation:
Identification of specific item; Date (if known); Rolf Tietgens photographs, image #, NMAI.AC.336; National Museum of the American Indian Archives Center, Smithsonian Institution.
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.
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.
Side 1 -- Picuris Children's Stories; vocabulary and expressions; Pauline Martinez at Taos Pueblo; Vocabulary and expressions
Side 2 -- continued from other side; birth customs; vocabulary; expressions
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Sponsor:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Side 1 -- Text of birth customs, etc.; Pauline Martinez at Taos Pueblo; Ethnographic notes on Taos and Picuris
Side 2 -- Breakdown of birth customs text; possessive pronouns; Pauline Martinez at Taos Pueblo
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Sponsor:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
