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Miscellaneous Photographs and Illustrations

The lot includes the following: (1) one photograph of a stone implement collection belonging to G.A. Katzenberger, of Greenville, Ohio (accession 23,384, catalog 147,200); (2) E.P. Upham's donation (accession 51,818) of fourteen plates showing Mexican, Central American, and Peruvian artifacts (disks, slab, hatchets, and figurines, including a Mexican maize goddess and the Chibcha goddess Barhuelesco) with a formal acknowledgement sent to Upham from the Smithsonian; (3) a group photograph of the delegates to the second general assembly of the Pan American Institute of Geography and History, Washington, October 14-19, 1935; (4) Alfred P. Maudslay's donation of plates from "Archaeology" in Biología centrali-americana, edited by F. Du Cane Godman and Osbert Salvin, 1897 (accession 40,553; catalog 215,514; (5) sixty-one photographic prints (many duplicates) used by William Henry Holmes in his Handbook of Aboriginal American Antiquities, Bureau of American Ethnology Bulletin 60, 1919; (6) a photographic enlargement of Dighton rock in Massachusetts and a Warren K. Moorehead photograph of 1891 showing a pile of 7,382 chipped flint disks taken from Mound 2, Hopewell Farm, Ross County, Ohio; (7) seven photographs showing Ferdinand V. Hayden and members of the United States Geological Survey of the Territories (William Henry Holmes, William Henry Jackson, George M. Chittenden, and S.B. Ladd taken in 1922) and a print of Jackson's photograph of the Mountain of the Holy Cross; (8) Arthur P. Rice's donation of six enlarged views of Mayan ruins at Chichén Ítza and Uxmal (catalog 377,372-377,377); and (9) miscellaneous Central American and Classical European illustrations

CALL NUMBER: Photo Lot 27

Miscellaneous Prints

The material includes views of ruins in Canyon de Chelly, Shupaulovi (Hopi), and a mound five miles south of Charleston, West Virginia, all by John K. Hillers; views of Pueblo ruins by Cosmos and/or Victor Mindeleff; two Williams Dinwiddie photographs of Papago women at work. There are also views by Henry B. Collins of archeological sites in Terrebonne and St. Mary parishes, Louisiana; L.C. Rennick's photographs of petroglyphs near Wind River, Wyoming; and

J.W. Milner's views of a mound near Florence, Alabama. In addition, there are photographs of Grant Mound near Melbourne, Florida; various unidentified mounds; Clear Creek Ruins; unidentified southwestern views; and apparently fraudulent Near Eastern archeological specimens. A clipping includes a print of a William A. Rogers drawing of Dakota Indians gathered around the Standing Rock.

DATES: ca. 1880s-1920s

QUANTITY: 68 prints

ARRANGEMENT: By photographer and subject


CALL NUMBER: Photo Lot 28

Miscellaneous Views

The prints are mostly of miscellaneous scenic views made in California, Colorado, Idaho, and Wyoming. Included are views of falls on the Yellowstone River, Shoshoni Falls, Agua Caliente School, the Loop (configuration of railroad tracks) in Kern County; ruins of San Isabel Mission; Mt. Shasta; Mt. San Jacinto; Toquich Canyon; Montezuma's Temple in the Garden of the Gods; the Dragoon Mountains; and San Diego Dam. Photographers include Camillus S. Fly, W.E. Hood, William Henry Jackson, Francis Parker, Rheas Brothers (San Diego View Company), Rifenburg and Murphy, I.W. Taber, and H.C. Tibbets. Also included are photographs of Thomas Moran paintings, a William A. Rogers engraving of a Pueblo wind press, an engraving of Portsmouth Square in San Francisco in 1850, and a few other illustrations.

DATES: Most undated (around 1850-1900)

QUANTITY: 45 items



CALL NUMBER: Photo Lot 29

Miscellaneous Negatives

The lot includes portraits of James Mooney and De Lancey W. Gill and other images relating to the latter. There is also a series that relates to an unidentified archeological expedition of William B. Douglass. Otherwise, the material consists of unidentified portraits of Whites and country views.

DATES: No date

QUANTITY: 50 negatives

CALL NUMBER: Photo Lot 65


Included are photographic prints and one clipping of a woodcut. Subjects are Smohalla and Sokulk followers at Priests Rapids, Washington; St. Columba's Church, White Earth Reservation, Minnesota; Otoe Industrial School; Indians around a campfire at Fort Marion, Florida; view of Deadwood, South Dakota; a chapel at the Cheyenne Mower's place, with Mower's son; a sketch of Fort Cummings, New Mexico; buildings and a mound at Charleston, West Virginia; the Tabernacle at Salt Lake City; an Indian camp with hides drying; Indians dragging brush in preparation of a Medicine Lodge; and a Dakota Ghost Dance taken from Frank Leslie's Illustrated Newspaper.

There are, in addition, prints of Indian portraits from negatives made by the Bureau of American Ethnology and the United States National Museum and several unidentified photographs.

Photographers include Cross, of Hot Springs, South Dakota; William Dinwiddie; De Lancey W. Gill; Sumner W. Matteson; and Thomas W. Smillie.

DATE: No date

QUANTITY: 62 items



CALL NUMBER: Photo Lot 66F


Included are wet- and dry-plate copy negatives of photographs of Blackfoot, Cheyenne, Nez Perce, Osage, Rogue River, and Taos subjects. There are copy negatives of Southwest Indians by G. Wharton James, F.H. Maude, and possibly other photographers. Some images are from the series "Dangers of the Indian Country--Frontier Exposures."

Considering their former interspersion with photographs of skeletal remains in the lots numbered 73-26, the copy negatives were possibly collected by Aleš Hrdlicka.

DATES: No date

QUANTITY: Possibly 50 negatives



CALL NUMBER: Photo Lot 73-26G

Miscellaneous Negatives

In 1973, the Department of Anthropology transferred the collection from storage. To a great extent, it consists of materials that belonged to the Bureau of American Ethnology, but there is also material of the Department of Anthropology. Included are collodion and gelatin glass negatives, nitrate negatives, a very few prints, and miscellaneous other material. These have tentatively been divided into groups of related images as follows: (1) two plates (four pictures each) of Mathew B. Brady carte-de-visite portraits of Cheyenne Indians on the 1863 Southern Plains delegation and one similar plate yet unidentified; (2) twenty-nine stereographic glass negatives of American Indians and other western subjects by Timothy O'Sullivan and William Bell on the United States Geographical Explorations and Surveys West of the One Hundredth Meridian (Wheeler Survey) and William R. Pywell on the Yellowstone Expedition of 1873 (copy prints are among the images of manuscript 4498 described in Appendix G); (3) approximately sixty-nine negatives by Victor Mindeleff that show ruins in the Southwest, views of Fort Defiance, staff at Fort Defiance, camps, and other scenes (prints of many appear in the albums described as manuscript 4362 in appendix G); (4) approximately 145 negatives made in the Philippines by Alexander Schadenberg during the 1880s and 1890s (USNM Accession 41,586, catalog 221,201 to 221,345); (5) approximately sixty negatives of Indians made by Mrs. Thomas L. Sloan, the wife of an Omaha Indian lawyer; (6) approximately twenty negatives made by Lee Moorhouse that include Nez Perce, Flathead, and Walla Walla subjects and also show burials on Memaloose Island; (7) around forty negatives of American Indian weaving relating to the studies of Mary Lois Kissell; (8) around seventy- eight field negatives of Kiowa Indians by James Mooney; (9) around twenty-two field negatives of Dakota Indians by James Mooney; (10) around one hundred negatives relating to field work of Edgar Lee Hewett, around 1896-1906? (includes petroglyphs); (11) eleven negatives made by O.W. Barrett in South Africa and Kenya (prints included in Division of Ethnology photographs, appendix H); (12) thirty-five negatives of NAA manuscript 1752, Delaware hymns; (13) seven unidentified albumen prints by Skeen and Company mounted on glass; (14) seven negatives (one of Quanah Parker and one of two of his wives) purchased from a man named McDonnell; (15) around two hundred negatives by William Henry Holmes, some of which relate to his work in Mexico and others that relate to his personal life and include portraits of himself; (16) around seventeen negatives by William Henry Holmes that include a lily pond formerly at the foot of Seventeenth Street, Northwest, in Washington, D.C.; a Fish Commission boat at Avoca, North Carolina; and miscellaneous other, rather artistic, views; (17) around 270 negatives in small lots that depict unidentified archeological specimens and a few field views, mostly made for William Henry Holmes; (18) around 150 negatives of the John Eliot Bible and other early religious writings in American Indian languages; (19) three negatives of Philippine natives taken for physical anthropological purposes by P.L. Sherman, Jr. (related to photographic lot 106A); (20) fourteen negatives of fake stone artifacts collected by L. Bradford Prince; (21) twenty negatives of artwork depicting American Indians, some being Seth Eastman's illustrations for Henry Rowe Schoolcraft's Historical and Statistical Information respecting the History, Conditions, and Prospects of the Indian Tribes of the United States; (22) around 140 portraits in several groups made by Bureau of American Ethnology photographers De Lancey W. Gill, William Dinwiddie, and, perhaps, John K. Hillers, many unidentified but some tentatively identified as Chippewa, Dakota, Sauk and Fox, Pawnee, Omaha, and Osage; (23) five electrotype plates for a manuscript by William E. Myer entitled "Stone Age Man"; (24) five negatives of paintings of nonanthropological subjects by Wilhelm Heitmüller; (25) eleven negatives of Eskimo carvings that belonged to René Bache; (26) one hundred seventeen negatives of pottery and baskets that appeared in an unidentified publication by Clarence B. Moore; (27) twenty-eight negatives tentatively identified as the personal property of De Lancey W. Gill, including copies of C.C. Cook photographs of race horses; (28) two negatives of a fake giant mummy (copy of images by Kuhn's Photo of Atlanta) and fake artifacts; (29) around 120 photographs by David Ives Bushnell, Jr., of miscellaneous artifacts, views and items relating to Virginia archeology, portraits, and scenic views; (30) forty-two unidentified negatives that were the personal property of Wells M. Sawyer; (31) two copy negatives of Charles Kroehle photographs of Orejoacute;n and Indians of Chonta Island, Peru; (32) thirty-four negatives (very poorly made) identified as "Antonio Apache"; (33) thirty-nine photographic portraits copied by the Bureau of American Ethnology from the Department of Anthropology photographic collection (originals now in the National Anthropological Archives); (34) fifteen negatives of lamps and three illustrations of American Indian fire signals that belonged to Walter Hough; (35) seventeen negatives of street scenes in Madrid, Spain, made by Walter Hough in 1892; (36) seventeen slides of specimens collected in the Amazon River region by William Lewis Herndon and Lardner Gibbon; (37) nine glass positives of Civil War views (some similar to views made by A.J. Russell); (38) nine negatives, eight prints, and five stereographs of views of the Smithsonian's John Smith exhibition at the Jamestown Tercenntenial Exposition, 1907; (39) forty-three negatives made by Walter Hough in the American Southwest and Mexico (some are images of Hopi Indians), most only partially identified; (40) eleven negatives showing body decoration, including tattooing and cicatrization (mostly Oceania); (41) fifteen negatives of Hopis made by Emry Kopta in 1920 (and seventeen similar negatives that may be by Kopta); (42) seven negatives of George Brown Goode's children taken by Walter Hough; (43) fifty-eight copy negatives of photographs of Ancient Egyptian, Greek, Roman, and Renaissance art and architecture; (44) ten negatives of Alaska Eskimo subjects, including the interiors of dwellings, made in 1912 (probably by Riley D. Moore); (45) thirty-seven negatives of Southwestern pottery that belonged to Walter Hough (unidentified); (46) one hundred eighteen 1910 negatives that show archeological and other views in Argentina and physical anthropological specimens in the Museo Nacional in Buenos Aires (related to Aleš Hrdlicka and Bailey Willis's investigations of Florentino and Carlos Ameghino's alleged early-man discoveries in Argentina (many identifications unclear); (47) one hundred fifty-four negatives of miscellaneous archeological, geological, and other views made in Mexico by Grove K. Gilbert in 1899; (48) around forty-two negatives made by WJ McGee on an archeological reconnaissance in California in 1898 (mostly unidentified); (49) one negative from Samoa donated by T. Dix Bolles; (50) two negatives of a diorama of an Iroquois village; (51) two hundred twenty personal and other miscellaneous negatives made by or formerly belonging to Walter Hough, including scenes made in Morgantown, West Virginia; photographs showing scenes in Mexico and the Southwest; Black peddlers and workmen in Washington, D.C.; Hough's family and friends; and a Finnish spindle, and (52) ten negatives showing experiments to produce South American-type stone tools (see Aleš Hrdlicka "Peculiar stone industries of the Argentine coast," Early Man in South America, Bureau of American Ethnology Bulletin 52, 1912, pp 99-151. Other negatives are unidentified.

There are many broken negatives in this lot.

DATES: 1860s-1920s

QUANTITY: ca. 2700 items

ARRANGEMENT: By collection as indicated above.


RESTRICTION: The nitrate negatives are in special storage. Researchers who wish to examine this collection should contact the archives about it well in advance of a visit.

CALL NUMBER: Photo Lot 78


Included among the prints is one showing Smithsonian employee Paul C. Natta measuring Indians and another showing French Marshal Ferdinand Foch with Plenty Coups. There are also prints from the Bureau of American Ethnology Collection of Glass Negatives of Indians.

DATES: Probably 1920s

QUANTITY: 12 prints

CALL NUMBER: Photo Lot 81-7


Formerly the prints were in the National Museum of American History Department of Culture History. Several accessions are included. United States National Museum accession 16,574 consists of views by S.H. Parsons of St. Johns, Newfoundland. Included are a street scene, a harbor scene, buildings in St. Johns, a girls' school, and several scenic country views. The photographs were obtained from the World's Industrial and Cotton Centennial Exposition in New Orleans, 1884-1885.

Accession 24,548 consists of photographs on mounts of Charles R. Savage of Salt Lake City, Utah. Shown are the Ontario Mill and a view of a town.

Accession 37,470 shows Alice Rollins Crane, "first lady stampeder on Thistle Creek" in the Yukon.

Accession 17,737 is a photographic copy of a print based on a painting entitled "Patience" by Johann Hermann Kretzchmar.

DATE: No date

QUANTITY: 18 prints

CALL NUMBER: Photo Lot 82-3

Miscellaneous Collections

The following materials are included: (1) prints of two George L. Beam photographs, one of Spruce Tree House and the other unidentified; (2) prints of three unidentified basket collections; (3) a photographic print of a Sarony and Majors lithograph of ancient works at Marietta, Ohio; (4) a 1905 Rolland L. Porter photograph showing Cutler Park Mound at Waukesha, Wisconsin; (5) two prints of Etowah Mound; (6) fourteen prints of the WJ McGee expedition to the Southwest in 1894; (7) eighteen prints by Arthur Chapman showing ruins on Mesa Verde, including views and details of Spruce Tree House, Cliff Palace, and Balcony House; (8) nineteen prints showing ruins of Fort Selden and Fort McRae in New Mexico; ruins of the Mesilla jail; and Apache Indians, including Cusong (Fat Hen), Deltea, and John Tayla, identified as taken by W.J.L. in 1904-1906 on the Rio Grande Project in New Mexico, Salt River project in Arizona, and Yuma project in Arizona and California; (9) 50 prints by N.L. Stanley, including views of ruins made at Puye, Frijoles Canyon, Navakwi, and Tsankawi, in New Mexico; Aneth, Bridge Canyon, Ruin Canyon, in Utah; Mancos Creek, McElmo Canyon, Rock Creek, Sand Creek, Yellowjacket Canyon, in Colorado and views of San Juan and Cochiti, in New Mexico; (10) two photographs by Horace S. Poley showing girls at grinding mills and a San Juan woman preparing chilies; (11) three cyanotyes of illustrations of rattles and drums from the Metropolitan Museum of Art's Catalog of Musical Instruments, 1914; (12) six prints showing exhibits at the Pan American Exposition, Buffalo, New York, 1901; (13) four-tenths linear meter (16 linear inches) of photographic prints, many from Bureau of American Ethnology negatives but also prints of Truman Michelson's photographs of Catawba Indians; (14) thirty-seven prints of Ute and Paiute Indians made by John K. Hillers; (15) photographs of famous Indians collected by the United States National Museum; (16) photographs of around eighty illustrations that appeared in John R. Swanton's The Indians of the Southeastern United States, Bureau of American Ethnology Bulletin 137, 1946; and (17) around fifty photographs by Lartz Anderson, showing southwestern Indians and views.

Number 15 above, photographs of famous Indians collected by the United States National Museum, include portraits of American Horse (Dakota), Black Hawk (Sauk; from a painting), Bob Tail and son (Cheyenne), Elias C. Boudinot (Cherokee), Crow Foot (Dakota), Edmo (Blackfoot), Gall and Gall's wife (Dakota), Geronimo (Apache), John Grass (Dakota), William Hurr (Kansa), Andrew John (Seneca), Chief Joseph (Nez Perce), Little Raven (Arapaho), Little Wound (Dakota), Medicine Bull (Dakota); Osceola (Seminole; from plaster bust by Charles H. Coe); Ouray (Ute), Plenty Coups (Crow); Rain-in-the-Face (Dakota), Red Cloud (Dakota), Sharp Nose (Arapaho), Standing Holy (Dakota), Sitting Bull (Dakota), Standing on Prairie (Iowa), The Bear with the Big Voice (Dakota); The Flying Bird (Dakota), The Spotted Horse (Dakota), Two Guns White Calf (Blackfoot), Two Moons (Cheyenne), and Washakie (Shoshoni). There is also an engraving of Joseph Brant from a work by George Romney and a photolithograph of a painting of Short Man (Blackfoot) by Winold Reiss. Other subjects include Apache leaders imprisoned at Fort Sill; the Arapaho, Cheyenne, and Wichita delegation to Washington, D.C., June, 1871; Brule Dakota gathered for treaty negotiations, 1886; copy of Benjamin West's "William Penn's Treaty with the Indians"; Crow Creek and Lower Brule Dakota delegation, 1888; Delaware, Keechi, Pawnee, and Wichita group, 1868; Geronimo's camp on March 30, 1886, and a mixed Dakota delegation, 1888. Additional materials are unidentified.

Photographers of these portraits include W.W. Anderson; Wesley Andrews; David F. Barry; Charles M. Bell; Mathew B. Brady; George W. Bretz; Camillus S. Fly; Alexander Gardner; De Lancey W. Gill; O.S. Goff; Jeremiah Gurney; F. Gutekunst; William Henry Jackson; R.L. Kelley; Mitchell, McGowan and Company; Francis H. Noyes; Place and Coover; A. Frank Randall; D. Rodocker; Julian Scott; A. Zeno Shindler; Thomas W. Smillie; and G. Ben Wittick.

DATES: Most 1860s-1940s

QUANTITY: ca. 700 photographs


CALL NUMBER: Photo Lot 87-2


The prints are of nonanthropological subjects and may be transferred to other Smithsonian departments.

DATES: No date

QUANTITY: 30 prints



CALL NUMBER: Photo Lot 125


The prints and negatives represent several collections that are yet to be separated. Included are images relating to the Wetherill Mesa Archeological Project, 1964, and the International Congress of Americanists, 1960. There is also material concerning Walter Hough, Guatemala, the Quapaw, Santa Clara, and other subjects.

DATES: Some early 20th century, some 1960s, many undated

QUANTITY: 157 items

ARRANGEMENT: Undetermined


CALL NUMBER: Photo Lot 134


Included are images of Pipestone Quarry in Minnesota and medals.

DATES: No date

QUANTITY: 26 items



CALL NUMBER: Photo Lot 135

Miscellaneous Prints

The prints, mostly mounted, were probably made from the Bureau of American Ethnology Collection of Glass Negatives of Indians. The images, however, include very little information and have not yet been matched with the negatives. The attribution of some prints is to William Dinwiddie.

DATE: Late 19th century

QUANTITY: ca. 75 prints



CALL NUMBER: Photo Lot 141A


The lots include several different collections that relate mainly to United States Fish Commission expeditions, anthropological publications, and miscellaneous reference prints, many copied from a central negative file of the United States National Museum (currently identified as the natural history collection in the Smithsonian's Office of Photographic and Printing Services). The negative file served for photographs made for USNM units.

The Fish Commission expeditions are those of the Albatross and Fishhawk carried out between 1888 and 1898. Included are images made in the Northwest Coast, Alaska, the Aleutian Islands, Baja California, the Galapagos, and Puerto Rico. Shown are views of settlements and geographic features, government officials, expedition members, United States Army personnel, flora, dwellings, and other structures. N.B. Mills and C.H. Townsend made some photographs.. Other materials are drawings used in Franz Boas's "The Social Organization and Secret Societies of the Kwakiutl Indians," Annual Report of the United States National Museum, 1895, and Albert Parker Niblack's "The Coast Indians of Southern Alaska and Northern British Columbia," Annual Report of the United States National Museum, 1888.

The reference prints are a miscellany that includes North and South American Indians, Ainu, and people or objects of Polynesia, the Philippines, the Bonin Islands, and Peru. There are also views of Keogh, Montana, by H. Stieffel and photographs of paintings by George Catlin, Karl Moon, and J.H. Sharpe.

DATES: 1888-1898 (much undated)

QUANTITY: ca. 600 items



CALL NUMBER: Photo Lots 82 and 83

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