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Archives West Finding Aid
Table of Contents
Bud Lake and Randy Brewer Crow Indian photograph collection, 1870s-1950s
Overview of the Collection
- Title
- Bud Lake and Randy Brewer Crow Indian photograph collection
- Dates
- 1870s-1950s (inclusive)187u195u
- Quantity
-
12 boxes
1156 photographic prints
99 nitrate negatives
12 safety negatives
2 black and white transparencies - Collection Number
- Lot 035
- Summary
- Repository
-
Montana Historical Society, Library & Archives
Montana Historical Society Research Center Archives
225 North Roberts
PO Box 201201
Helena MT
59620-1201
Telephone: 4064442681
Fax: 4064445297
mhslibrary@mt.gov - Access Restrictions
-
Collection is open for research.
- Languages
- No textual or other language materials are included in the collection.
Biographical NoteReturn to Top
Bud Lake and Randy Brewer
Bud Lake was born in Virginia. When he was a young boy his father gave him an archaic stone ax head that he found on the family farm. Bud then spent his free time searching the fields for arrowheads. He graduated from college in 1968 with a degree in business management and spent his career in emergency services. He lived in Arizona during 1980-1990, and worked as 911 director for the city of Santa Fe and Bernalillo County (Albuquerque) in New Mexico from 1993-2011. When he retired, he moved back to Arizona.
Randy Brewer was born and raised in the Texas Panhandle. He attended college at the University of Tennessee, Wichita State University, and Eastern New Mexico University. He worked as a physician’s assistant.
In the 1980’s Bud Lake attended the Cheyenne Frontier Days rodeo and during that trip he purchased a book about Crow medicine bundles. That was the beginning of his passion to study the Crow Tribe and collect Crow materials including beadwork, rawhide items, toys, horse gear, etc. He spent twenty years going to Crow Fair and talking to tribal elders to learn about the history and culture of the Crow people.
Photograph collecting began when Lake received a copy of Willem Wildshut’s manuscript on Chief Plenty Coups (written in the 1920s) and then set out to collect the photos that could be used to illustrate the manuscript for publication. He searched auction houses, talked to collectors, used eBay and other online resources, and attended trade shows and conferences. Quickly Lake realized two inherent problems with Crow photographs: dating a photo and trying to identify the photographer. During 35 years of building the collection, Lake and Brewer amassed this collection of photographs, negatives, stereographs, and lantern slides.
In 2002, Bud Lake attended the Plains Indian Seminar and made a presentation entitled “Late 19th Century Crow Photographs – Who Shot the Crow?” He created and updated a catalog of photographers who took photographs of the Crow people and their reservation. He made presentations at the Material Culture of the Prairie, Plains & Plateau (MCPPP) Conferences in 2005 (Rapid City) and 2009 (Helena) on Crow beadwork and insignias, using photographs from his collection to illustrate his talks. In 2006, and again in 2012, Lake produced and financed the Crow Indian Art Symposium in Billings where presentations were made on Crow material culture.
The Lake/Brewer Collection was purchased by the Montana Historical Society in 2015 from Bud Lake and Randy Brewer.
Crow Indian Tribe
The ancestral home for the Crow people might have been near Lake Winnipeg in Canada. Likely because of hostile tribes, the people began moving southwestward in the sixteen century, eventually to the Devils Lake area in North Dakota. They continued to move westward and by 1600 had reached the confluence of the Yellowstone and Missouri Rivers in Montana and Wyoming. The Crow Tribe had two separate groups, hunters and horticulturists. The nomadic hunting people, who called themselves “bird people” from which the Crow name came, went to the Big Horn Mountains. Within the Crow Tribe were two different bands, River Crow (or Prairie) living in the north and east portion of the reservation and the Mountain Crow living in the mountains and foothills of the Big Horn and Beartooth ranges. The two bands combined in the 1870s when the Mountain Crow lost their homeland.
The Crow Indian Reservation was created by the 1868 Fort Laramie Treaty, but the boundaries were changed as settlement moved west. The first agency (1869-1975) was at Fort Parker, located south of the Yellowstone River at Mission Creek, eight miles east of present day Livingston. In 1875, because most of the tribe lived east of the Pryor Mountains, the agency was moved and was called the Absaroka Agency or Rosebud Agency, being located on Rosebud Creek near present-day Absarokee. At an 1880 Absaroka Agency council meeting, the Crow first agreed to begin farming and this area was supposed to offer better agricultural opportunities. Then, in 1884, Crow Agency was established on the Little Bighorn River, just south of Hardin.
There are six communities on the reservation: Lodge Grass, Crow Agency (tribal headquarters), Fort Smith, Pryor, St. Xavier, and Wyola. In 1948 the tribe’s General Council divided into political districts: Wyola, Lodge Grass, Reno, Black Lodge, Big Horn, and Pryor. Indian agent annual reports provide Crow population data: 1885 = 3226; 1889 = 2456; 1892 = 2202.
The Lake/Brewer Collection has photographs of Crow Agency Reservation buildings including schools, flour mill, warehouse, employee houses and offices, and facilities such as the ditches and gates of the Crow Irrigation Project. Early agency buildings were made of adobe, but at Crow Agency the government buildings were constructed of wood.
Education was a goal of the reservation system and the U.S. Indian Service tried both boarding and day schools in the 1870s and 1880s, offering a combination of classroom and industrial work. In 1887 the Jesuits established St. Xavier Mission and started a branch at St. Charles Mission at Pryor Creek that was open from 1891-1898. The Unitarian Association of Boston opened a government contract school in 1877 on the Bighorn River near Custer, replacing it with a new school in 1892. In 1903, the Baptist Church operated a day school near Crow Agency.
Beginning in 1891, the Crow Irrigation Project was begun. Designed to provide training and employment for the Crow people, the project was also important to provide a network of canals to water farmland in the Big Horn Valley. By 1894, 6 ditches totaling 78 miles and irrigating more than 23,000 acres had been built with 70% of the work done by Crow labor.
The tribe’s participation in rituals and ceremonies is documented in the collection. This includes the Medicine Lodge, or Sun Dance, and the Hot Dance, or war dance (for males only). The Tobacco Society ceremony involved a procession, singing, dancing and planting of sacred tobacco used for medicinal purposes. Crow Fair was created in 1904 by Agent Samuel G. Reynolds to display agricultural and ranching products, as well as arts and crafts. The Fair welcomed all Great Plains tribes to the Crow Reservation to participate in a parade and a dance celebration or pow-wow. Rodeo and racing were added to Crow Fair in later years. The event still takes place annually in August.
The Lake/Brewer collection includes many photographs of Crow teepee camps in a variety of settings. The Crow tribe was well-known for having the biggest and best decorated teepees being painted with animal and bird images. During Crow Fair the camp area is known as the “teepee capital of the world.”
Content DescriptionReturn to Top
This collection includes primarily views of Crow Indians in Montana. The images are arranged into two series: Series I. Identified Photographers and Series II. Unidentified Photographers.
The first series is organized alphabetically by the name of the photographer, studio, or publisher. This arrangement maintains the original organization of the collection by Bud Lake. Series II contains photographs for which the photographer is unknown and the images are arranged by subject.
A small number of duplicate photographs were transferred into the Lake/Brewer collection from Photo Archive accessions acquired earlier, including PAc 79-37 and PAc 2013-50.
Photographers include well-known professionals such as D. F. Barry, R.R. Doubleday, Orlando S. Goff, Fred E. Miller, Frank A. Rinehart, Joseph Henry Sharp, and Richard Throssel. The collection also includes photographs taken by lesser known Montana photographers such as Willem Wildschut, Alfred Baumgartner, and M.E. Hawkes. Some of these men lived with the Crow people on the Crow Reservation and others attended and photographed special events such as fairs or parades. There was a fascination in the U.S. and other countries with the American West, and as a result a competitive market for images of the dress, life, and customs of Great Plains tribes existed. The notoriety of the Little Bighorn Battle and death of George Armstrong Custer created a demand for images documenting the Crow Tribe and the battlefield which is located on the Crow Reservation. The range of images created for this market included formal studio portraits of well-known Indians and inexpensive postcards for tourists.
Identifying the original photographer for an image from this period is challenging in some instances. There are photographs in this collection that are credited to more than one photographer, possibly because one person’s studio and work (including original negatives) might have been purchased by another photographer who then put his name on the prints produced and sold. Bud Lake used his expertise and experience to determine the original photographer for images in the collection. There are also published histories for some of the photographers that provide information about an individual’s work. Some photographs are credited to a photographer because of the imprint on the mount or information printed on the photo or postcard. Dealers in vintage photographs also provided information about who was believed to have originally created a photo. For some photos without identification, it is possible to recognize the backdrop, costumes, or props that a photographer or studio used and reach a conclusion using those details. There are some discrepancies in the collection so it was not always possible to definitively know the original photographer. However, Bud Lake’s arrangement by photographer has been maintained for this collection.
Formats in the collection include prints of formal studio portraits, snapshots, and postcards published for the tourist market. There are also some original glass and vintage film negatives, and prints have been made of these images. Transferred from the collection were 40 lantern slides, 261 photomechanical postcards, 186 stereographs, and 84 photographs that were already processed and cataloged by the Photo Archives. A list of all transferred items is available in the Lake/Brewer Collection accession file.
Other Descriptive InformationReturn to Top
In addition to Crow Indians, other tribes represented in the collection include Sioux, Cheyenne, Nez Perce, Gros Ventre, Blackfeet, Washoe, Ute, and Shoshone. In some cases, the tribal affiliation of an individual is unknown. If the date of the photo is known, it is provided. Details about the photographs, including how they were acquired, are provided when known. If the caption with a photograph provides information, it is included in the descriptions below in quotations.
In April 2016, Grant Graybull, a member of the Crow Indian tribe, viewed digital images of some photographs in the Lake/Brewer collection and provided information about individuals, dress, locations, activities, and events. This information has been incorporated in the descriptions below and in the individual catalog records for these photographs.
Use of the CollectionReturn to Top
Restrictions on Use
The Montana Historical Society is the owner of the materials in the Photograph Archives collections and makes available reproductions for research, publication, and other uses. Written permission must be obtained from the Photograph Archives before any reproduction use. The Society does not necessarily hold copyright to all of the materials in its collections. In some cases, permission for use may require seeking additional authorization from the copyright owners.
Preferred Citation
Bud Lake and Randy Brewer Crow Indian photograph collection. Lot 035. [Box, folder number, and photograph number.] Montana Historical Society Photograph Archives, Helena, Montana.
Administrative InformationReturn to Top
Arrangement
When received, the Lake/Brewer Collection was arranged primarily by photographer and this arrangement has been maintained. Because of his expertise, experience, and research, Bud Lake was able in some cases to identify individuals or events documented in a photograph that vendors or other collectors did not know.
Series I: Identified Photographers. This series is arranged into 39 subseries, arranged alphabetical by photographer. For each subseries, a brief history of the studio or biography about the photographer is provided, as well as any details known about the photographs in the subseries.
Series II: Unidentified Photographers. This series is arranged into eight subject subseries: Indians, both identified and unidentified; Indian ceremonies; Indian activities and events including parades, dances, and fairs; Indian camps; Little Bighorn Battlefield and Custer Monument; and miscellaneous.
Acquisition Information
Acquisition information available upon request.
Related Materials
In addition to the photographs, a small archival/research collection (MC 427) was acquired with information compiled about Crow Indians and their history. These research materials include letters on the creation of Plenty Coups State Park, Jesuit diaries from St. Xavier Mission, transcription of the Crow creation story, Crow Fair programs, details about Crow shields and their owners, and census and death records for individual Crow Indians. Lake also created a file for each photographer that includes information about how some photos were acquired and about other repositories that house photographs taken by that photographer.
Included with the Lake/Brewer collection was a film entitled “Children of the Long-Beaked Bird,” produced by Peter Davis and Swedish Television in 1976. The film depicts the daily life of Dominic Old Elk, a young Crow Indian boy, and his family who live on the Crow Indian Reservation. Because the condition of the film prevented viewing or using it, a DVD version was purchased and added to the MHS Library collection in November 2016.
In 2017, MHS received the Fred E. Miller Collection including photographs and negatives of Miller’s work on the Crow Reservation in Montana. This collection was referenced to verify Miller photographs in Lot 35 and to provide additional information about the people and places in the images. In some instances, the Miller collection has original negatives and prints that are seen only as copy prints or postcards in the Lake/Brewer Collection.
Detailed Description of the CollectionReturn to Top
Series I: Identified PhotographersReturn to Top
| Container(s) | Description |
|---|---|
Subseries 1: Albright and
Bernard
Albright and Bernard were photographers at Fort Buford, Dakota
Territory.
|
|
| Box/Folder | |
| 1/1 |
Indians –
portrait of two unidentified women, one seated and one standing,
wearing dresses, shawls, and long leather belts with metal
studs |
Subseries 2: Thomas Nathan
Barnard
T. N. Barnard grew up in Iowa. During the years 1879-1883 he worked with
L.A. Huffman in Miles City. In 1885 he moved to Coeur d’Alene and worked
with Nellie Stockard photographing mines and miners in that area.
|
|
| Box/Folder | |
| 1/2 |
Indians –
portrait of Snake, “Crow brave and sub chief,” wearing a plaid
shirt, kerchief, and two feathers in his hair; portrait of Spotted
Horse, “war chief of the Crows,” wearing a shirt, vest, and
necklaces, and holding a stick with a round object attached to one
end. |
Subseries 3: David F. Barry
(1854-1934)
D.F. Barry apprenticed with O.S. Goff in his gallery in Bismarck, Dakota
Territory, beginning in 1878. He traveled to Fort Buford (D.T.) and Fort
Assiniboine (Montana Territory) using a portable photographic studio to
take photographs of Indians, forts, and battlefields. In 1883 he
returned to Bismarck to operate a studio and gallery. Barry moved to
Superior, Wisconsin, in 1890.
|
|
| Box/Folder | |
| 1/3 |
Indians –
Curly, “General Custer’s Scout,” wearing shirt, necklaces, and fur
decorations in his braids; portrait of Crooked Face (wearing brimmed
hat and holding a tomahawk) and his family including a young woman
(wearing an elk tooth dress) holding a small boy on her lap;
portrait of Old Crow wearing a vest, long belt, metal armbands, fur
decorations in his braids, and a feather in his hair; portrait of
William (Bill) Hart standing outdoors with Chief Plenty Coups who is
wearing a shirt, eyeglasses, and a feather headdress; portrait of
“Mr. Snake, a Crow scout” seated (wearing a brimmed hat, shirt,
vest, and blanket) with his wife (wearing a blanket over her dress)
standing beside him (written on back “great friends of mine”);
portrait of Snake (wearing a brimmed hat with a feather, necklaces,
and metal armbands) seated next to Big Belly (wearing a shirt,
necklaces, long belt, and metal armbands); portrait of Spotted Horse
(in a brimmed hat) and Snake, both men wearing metal armbands and
holding tomahawks. |
| 1/4 |
Indians –
portrait of Spotted Horse, “Crow chief,” wearing a striped shirt,
vest, metal armbands with eagles, and hair decorated with fur and a
feather; portrait of War Man, “Crow chief” wearing a blanket around
his waist and legs, a shirt decorated with long braided fringe, and
a feather in his hair; portrait of a man wearing pants, shirt,
breechcloth, long belt, metal wrist and armbands, with a knife and
sheath in his belt (identified by Denver Public Library as War Man,
but not the same person as in the previous photo); portrait of White
Bear wearing a cloth shirt, necklaces, shell earrings, and a feather
in his hair; studio portrait of Wolf Chief wearing a fur-trimmed
coat and posed in a winter backdrop with snow and fence (this man is
identified in 954-810 as a Hidatsa Indian); portrait of Black Owl
and Sitting Woman (two men wearing blankets and feathers in their
hair) with Mary (wearing an elk tooth dress) standing behind them
(identified as Gros Ventre Indians). |
Subseries 4: Alfred Baumgartner
(1866-1938) / Baumgartner Studio
Alfred Baumgartner was a native of Switzerland who came to Montana in
1882. He operated a photo studio in Billings. In addition to
photographing Indians in the area, he also traveled extensively in the
Beartooth Mountains, especially the East Rosebud Valley and East Rosebud
Lake (originally named Armstrong Lake) areas. A lodge was built at the
lake in 1912 and in 1916 it was purchased and established as a
non-profit association. Baumgartner explored the area with Fred Inabnit
and others beginning in 1907. The Lake/Brewer Collection includes both
glass and nitrate negatives (some numbered, some with “©AB”) Baumgartner
created of scenery in the Beartooth Mountains including peaks, glaciers,
lakes, waterfalls, streams, meadows, camps, cabins, and people
recreating primarily during the years 1909-1921. Some of the
identifications for these photographs are from the book A Bit of Heaven,
by Gordon Eiselein and published in 1997. This subseries also includes
views of two Montana towns, Billings and Broadview.
|
|
| Box/Folder | |
| 1/5 |
Indians –
Plenty Coups with three men (one with a rifle, one with a pipe) and
a woman (wearing an elk tooth dress) sitting on blankets inside a
tent where an ermine decorated shirt, blankets, beaded pouch,
lantern, dishes, and a small leather bag are on display (1909)
(“Plenty Coos with friends in his tent”); portrait of a man (wearing
a vest and necklaces, and holding a blanket) and a woman (wearing a
blanket shawl over her dress) standing with a young girl (wearing an
elk tooth dress) seated between them (1909); portrait of a woman
(wearing a striped blanket over her dress) standing next to a man
(in a jacket and holding a brimmed hat with a feather) with a small
boy seated on a log between them; portrait of a man wearing boots,
leather leggings, shirt, decorated vest and necklaces; portrait of a
man wearing shaggy chaps, decorated leather gloves, shirt, and
brimmed hat; group of men on horseback (wearing brimmed hats or
feather headdresses) and holding feathered staffs in front of tents
and a hill (“Crow Indians at home”) (1909); four Crow men on
horseback (one holding Chief Plenty Coups’ flag, one holding the
U.S. flag) leading a line of people on horseback in front of teepees
(“Crow Indians at home”); two teepees and a woman sitting under a
tarp shelter near a tent and wagons (1909); in the distance, two men
(on horseback), wooden buildings and stockade, and a large teepee
camp. |
| 1/6 |
Beartooth
Mountains hiking and mountaineering – three men using
poles to slide down a snow-covered hill; Fred Inabnit and three
other men walking on snow approaching Gannett Peak (c. 1920); man
with backpack and walking stick standing in grove of trees; young
girl sitting in the grass near a lake with mountains behind; two
people walking on a trail toward mountain peaks; three men with
bedrolls standing on a hillside amid downed trees (1909); six men
and two pack horses standing in grass and rocks; man with walking
stick standing on a rocky cliff; man with coiled rope over his
shoulder standing with large rocks near a mountain peak (written on
negative “45 ½ Vogel 7/23/24”); two people crossing a creek on a
footbridge near a flagpole and small building (possibly East Rosebud
Creek). |
| 1/7 |
Beartooth
Mountains cabins and camps – tents, horses, and wagons in
a grassy area near hills (1909); tent camp and small building on
rocky slope near snow and mountains; six men (two with shovels and
one with an accordion) and three women at campsite with tents, cook
fire, and wagon; grove of trees with road and signs reading ‘Free
Camping Ground’ and ‘Welcome’; picnic shelter and automobiles in
grove of trees; two men and young girl standing by a log building
with tents and mountains behind; tents and large building with
mountains behind; automobile, fence, and log cabins in trees with
rocky cliff behind; automobile parked near a log and rock cabin in
the trees; buildings, fence, and road at base of rocky
cliffs. |
| 1/8 |
Beartooth
Mountains peaks – “the Pyramid at Forks Rock Creek”;
“roof of Montana taken from Granite Peak looking over Mount
Villa[ard] and Hidden Glacier toward Grasshopper Glacier”; Granite
Peak “highest point in Montana” with snow and glacier; rock-covered
field and south slope of Granite Peak; in the distance, three men
standing on rocky hillside with snow above and below (“between
height and depth, altitude 11,000”) (1909); mountain peaks and
downed trees (1909); mountains, creek, and rocky plain; chimney-like
rock formation; rocky area with snow-covered peaks behind; bushes in
water with trees and mountains behind (1909). |
| 1/9 |
Beartooth
Mountains peaks – trees and snow-covered mountain peaks
(1909); mountain peaks; rock-covered slope with peaks behind; road
along rocky slope with peaks behind; peaks and lake in the distance;
snow on rocky plateau with peaks in the distance. |
| 1/10 |
Beartooth
Mountains peaks – meadows with trees and peaks behind;
man standing in snow-covered plain with mountains behind; rocky
meadow with snow and mountains behind; snow-covered area with small
lake and mountains in the distance. |
| 1/11 |
Beartooth
Mountains East Rosebud Lake – five men in a boat on the
lake with another boat on the opposite shore; three men on a log
raft on the lake (1909); automobile on the ridge overlooking the
lake; horses grazing near tents, log buildings, and a group of
people playing baseball along the bank of the lake; tents along the
lake with mountains behind; lake, shore with cabins and tents, and
mountains behind; Mount Shepherd across the lake and shore with
tents and cabins (1921); log cabin in trees with lake and mountains
behind; looking north across the lake (1921). |
| 1/12 |
Beartooth
Mountains East Rosebud Lake – trees and lake with cabins,
tents, and mountains in the distance; lake, trees, and beach (1921);
lake, building on shore, and mountains; lake, “chocolate drop” and
other mountain formations; lake, trees, mountains, and meadow (c.
1908 and undated); mountains with low hanging clouds. |
| 1/13 |
Beartooth
Mountains lakes – Rim Rock Lake with mountain peaks in
the distance (“2nd Lake Dore [?] Brunger”); Rainbow Lake with rocky
shore; lake with mountains behind (“Misting Lake” written on
negative sleeve; possibly Mystic Lake); man standing on hill looking
toward Mystic Lake Power Plant and other buildings; view looking
down at mountain lake (written on negative “Mont Park”); lake, snow,
rocks, and mountain peaks; lake, shoreline, and
mountains. |
| 2/1 |
Beartooth
Mountains lakes – lake, rocky shore and trees; lake
surrounded by peaks; creek flowing into lake with mountains in the
distance; bank and trees with lake and mountains behind; rock cliff
with lake in the distance; lake and rocky shore (1909); from above,
mountain lake and shoreline; striated snow on bank of small
lake. |
| 2/2 |
Beartooth
Mountains streams, rivers and waterfalls – man standing
along creek lined with large rocks and trees (identified by Eiselein
as “Rainbow Falls, Tee-O-Bar Ranch, Alpine, Mont.”); Hell Roaring
Creek with trees and rocks; bridge supported by rocks and timbers
crossing creek; man standing on rocks by creek; waterfall and rocky
cliff (1909); waterfall cascading down rocky cliff; stream with
tree-lined bank and mountains behind; stream and snow-covered
banks. |
| 2/3 |
Beartooth
Mountains streams, rivers and waterfalls – stream with
tree-lined banks; stream, trees, and mountain peaks; creek, rocky
bank, and mountains; stream and mountain peaks. |
| 2/4 |
Miscellaneous – views looking from rims toward town of
Billings with buildings, fields, irrigation ditch, and Yellowstone
River; views looking toward town of Broadview with buildings
(including a school house with playground), water tower, grain
elevators along train tracks, and dirt streets; man in horse-drawn
buggy with long line of covered wagons on the road behind him;
oxen-drawn wagons filled with large bags pulled alongside loading
area of long building (“fire hall and wool warehouse along Montana
Ave., Billings, depot station”); shocks of harvested grain in field
with mountains in distance. |
Subseries 5: A.L.
Bray
A.L. Bray resided in Big Timber, Montana. In addition to taking
photographs, he operated Bray’s Big Timber Cash Meat Market, served on
the local school board, and was treasurer for the Sweet Grass Stock
Grower’s Association.
|
|
| Box/Folder | |
| 2/5 |
Indians –
White Man Runs Him (holding a feather fan) standing outdoors with a
young non-native boy and several teepees; group of Crow men, women,
and children posed on a hillside in the Crazy Mountains near Big
Timber with two non-native men. |
Subseries 6: Earl A. Brininstool
(1870-1957)
E.A. Brininstool was born in New York and spent most of his life in Los
Angeles. He was a cowboy poet and author of A Trooper with Custer. In
June 1926, he attended and took photographs of the 50th anniversary of
the Battle of the Little Bighorn.
|
|
| Box/Folder | |
| 2/6 | Indians – White Man Runs Him (wearing
a feather headdress) and General E. S. Godfrey standing by a wooden
marker reading “this cross marks the site for a proposed monument to
the 7th Cavalry” during the dedication of the Major Reno Battlefield
monument (June 1926). |
Subseries 7: William R. Cross
(1843- )
W.R. Cross was born in Vermont. During the years 1868-1878 he operated
photographic studios in several Nebraska locations including Omaha,
Norfolk, Fort Meade, and Niobrara. In 1878 he relocated to Hot Springs,
South Dakota, where Cross Studios operated until 1898.
|
|
| Box/Folder | |
| 2/7 |
Indians –
seven Crow children seated on the ground in front of two men on
horseback with teepees, a wagon, and a shelter made of branches
behind them (“Crow Agency”); herd of longhorn cattle inside a wooden
fence with a large crowd of people, some on horseback, outside the
fence (“issuing cattle, Rosebud Agency, D.T.”). |
Subseries 8: Thomas
Dalgleish
T. Dalgleish worked in Buffalo, Wyoming Territory, in the 1890s. His
brother, George, was also a photographer and operated the Dalgleish
Studio in Georgetown, Colorado, between 1892 and 1901.
|
|
| Box/Folder | |
| 2/8 |
Indians –
group of men (wearing blankets and brimmed hats) standing behind
women (wearing blankets and scarves) and children who are seated
outdoors in a grassy field. |
Subseries 9: Joseph Kossuth Dixon
(1856-1926)
J.K. Dixon was a Baptist preacher and lecturer who was hired by Rodman
Wanamaker, heir to the Philadelphia-based Wanamaker Department Store, to
document Indian life and culture. During the three Wanamaker
Expeditions, Dixon took more than 8,000 photographs. In 1908, he
traveled to the Crow Reservation to photograph Indians at their camp at
Little Bighorn River. The following year he returned to Montana to
document a traditional gathering of fifty chiefs from several
reservations to discuss tribal politics. A selection of these photos was
published as photogravures in The Vanishing Race: The Last Great Indian
Council, which came out in 1913. In the last expedition (1913), Dixon
photographed flag-raising ceremonies at several reservations in the West
as part of Wanamaker’s lobbying efforts to gain citizenship for Native
Americans. Following the expeditions, John Wanamaker, Rodman’s son,
produced a series of color postcards of photographs from the
expeditions. Bud Lake collected photogravures of Crow Indians from The
Vanishing Race (transferred to the Lake/Brewer Research Collection), a
number of color postcards from the expedition (transferred to the Photo
Archives postcard collection), and the photographs described below (two
are oversize).
|
|
| Box/Folder | |
| 2/9 | Indians – portrait of Chief Medicine
Crow wearing a buckskin shirt, necklaces, and a feather in his hair
(this image was not in The Vanishing Race, but a photogravure did
appear in another publication); portrait of Takes Five (Nokomis), an
elderly woman wearing a blanket around her dress; portraits of White
Man Runs Him wearing necklaces and a feather headdress (one image is
in The Vanishing Race); man with a feathered lance riding on
horseback away from the camera toward the sunset (similar to a
photogravure in The Vanishing Race entitled “sunset of a dying
race”); man wearing a shirt decorated with ermine pelts and holding
a feathered lance riding on horseback away from the camera through a
grove of trees. |
| oversized | |
| M-1 | portrait of Hairy Moccasin wearing a
feather headdress and necklaces (image is in The Vanishing
Race). |
| M-2 | portrait of White Man Runs Him (same
image as described above) (image is in The Vanishing
Race). |
Subseries 10: Ralph Russell
Doubleday (1881-1958)
R. R. Doubleday was born in Ohio and moved with his family to the Black
Hills of South Dakota in 1898 where he worked as a range rider. In 1901
he traveled extensively and then began photographing riding and roping
contests and roundups, and founded the Doubleday Frontier Photo Company.
It was at the 1910 Cheyenne Frontier Days rodeo that Doubleday captured
the first action shot of a bronc rider in midair. During the years
1910-1950, he photographed rodeo events in many locations, and produced
and sold millions of postcards made from his photographs. The Doubleday
postcards in this collection were originally collected by Earl E. and
Virginia Snook of Billings, and purchased by Bud Lake. The postcards are
arranged by location if known, with those not having a location arranged
alphabetically by the name of the cowboy or cowgirl in the
photograph.
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| 2/10 |
Montana
postcards – Big Eagle standing in an arena wearing a
feather headdress and holding a feathered staff and eagle shield;
Chief Plenty Coups wearing eyeglasses, a fringed coat, and brimmed
hat standing outdoors near a tent camp; Turk Greenough at a Billings
rodeo riding a bucking horse named Spider in front of cowboys and
chutes; Joe Welch moving from his horse to a steer during
bulldogging event at a Billings rodeo as spectators sit on the
corral; cowboy named Porter at Livingston Roundup riding a bucking
horse named Snake Eyes with spectators in the stands behind him;
view from above the Will James Ranch (near Pryor) with buildings,
corral, horses, and hillside. |
| 2/11 |
Wyoming rodeo
postcards – Tex Crockett on a bucking horse named South
Dakota at Cheyenne with spectators watching from the rodeo chutes
(1919); Dewey McDonald riding a bucking horse named Skidoo at
Cheyenne Frontier Days with spectators on the fence and in the
grandstand (1920); Floyd Stillings on a horse named Sweden that has
landed on its head in a grassy field at Cheyenne Frontier Days; Dan
Wallace riding a bucking horse named High Rock at Cheyenne Frontier
Days with spectators on the fence behind (1920); Frank Carter riding
a bucking horse named Button at the Wyoming State Fair in Douglas
(“riding Button to a finish”) (1915); Dick Hornbuckle riding a
bucking horse at the Wyoming State Fair in Douglas (“taming a wild
one”) (1915); cowboy wearing shaggy chaps and waving his hat in one
hand rides a bucking horse at the Wyoming State Fair in Douglas
(“stay a long time cowboy”) (1915); three-story brick building, the
La Bonte Hotel in Douglas, with streetlamp, and parked automobiles
on the street; Ray Mavity riding a bucking horse named Klu Klux at
the Sheridan Rodeo with spectators behind him. |
| 2/12 |
Rodeo postcards
from other states – Ed Wright standing next to a mule
named Woolworth that is seated on the ground at Tucson; Jessie Coats
riding a bucking horse named Sky Rocket with spectators behind him
at Los Angeles; Bonnie Gray on a horse named King Tut jumping over
an automobile (with people sitting in and standing near it) at the
Los Angeles Roundup; Ralph Smith being thrown from a bucking horse
named Headlight as spectators watch during Pike’s Peak Rodeo (1922);
cowboy riding a bucking horse before a large crowd in the grandstand
at Chicago (July 1920) (“worlds champion contest”); Evert Phelpson
riding a bucking horse named Kincade as spectators watch at
Alliance, Nebraska; Paddy (John F.) Ryan riding a bucking horse
named You Tell ‘Em to win the world’s championship bronc riding
contest at Pendleton Roundup (1924); Bonnie McCarroll being thrown
from a bucking horse named Silver at Pendleton; cowboy named Hill
riding a bucking horse named Rainbow as another man on horseback
watches at Belle Fourche, South Dakota; line of cowboys on horseback
(one carrying a flag) and crowd in grandstand during grand entry at
Ricker Ranch Rodeo in Lake Delton, Wisconsin; Blondy Ward riding a
bucking horse named Kill Joy in front of large crowd at the Ricker
Ranch Rodeo; Bill Bushbom riding a bucking horse named Kangaroo in
front of a crowded grandstand at Ricker Ranch Rodeo. |
| 2/13 |
Rodeo postcards
from unknown locations – Smoky Branch waving his hat in
one hand as he rides a bucking horse named Glas (sic) Eye (1923);
John Carlos being thrown from a steer at California Frank’s rodeo;
Mike Hastings wrestling a steer between two horses during
bulldogging event; Noah Henry riding a bucking horse named Bill
McAdoo with a large crowd watching from the grandstand; Charlie
Johnson being thrown to the ground from a steer (1923); Tommie
Kirnan being thrown from a bucking horse with spectators behind him
(“says good mornin’ Judge F”) (1919); Dick Langley being thrown from
a bucking horse named Sundance; E.K. Loban being thrown from a
bucking horse named Third Money; Al Padra riding a bucking horse
with spectators behind him (“is he leaving or can you tell?”);
cowboy named Robbins being thrown to the ground by Happy Jack, a
mule being held by another man (“giving Robbins the horse laugh”)
(1916). |
| 2/14 |
Rodeo postcards
from unknown locations – Lee Robinson wrestling a steer
between two horses during bulldogging event; Guy Schultz wrestling a
steer between two horses during a bulldogging event; Red Sublett
riding a bucking horse named Topsy as another man watches (1922);
Frank Van Meter being thrown from a bucking horse named Barrelhead
as two men on horseback watch; Soapy Williams riding a bucking horse
named Cox as others watch (1922); Leonard Womach riding a bucking
Brahma steer in a dirt field; cowboy in midair after being thrown
from a steer (“cowboy looking for a place to light”); four women
standing on their saddles with hands above their heads as their
horses run through the arena (“cowgirls headed for the roundup”)
(1921); long-horned steer standing near grass (“the last of the
Texas longhorn”). |
Subseries 11: William R. Finch ( -
1894)
W.R. Finch lived in Billings, Montana, and operated a studio from the
1880s until it was sold following his death in 1894 to L.A. Huffman.
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| 2/15 |
Indians –
studio portrait of Chief Plenty Coups wearing a full-length bearskin
coat standing with one foot on a log and holding a rifle (albumen)
(c. 1886). |
Subseries 12: Orlando Scott Goff
(1843-1917)
O.S. Goff was born in Connecticut and opened a photography gallery in
Yankton, Dakota Territory, in 1871. He worked as a traveling
photographer visiting forts and reservations in the West to photograph
soldiers and Indians. Through the years he had studios at Bismarck,
North Dakota, and Fort Custer and Havre in Montana. In Havre, his
apprentice was David F. Barry, who took over the studio when Goff
returned to Fort Custer in 1886. This subseries includes formal
portraits taken by Goff as well as other images of Indian life. A series
of photographs are from a scrapbook acquired by Bud Lake in 2003 through
a New York auction. Pages from the scrapbook are stamped “Edith Hay
Wyckoff, Locust Valley, NY” and a note with the photos reads “All the
pictures taken on a camping trip of 10th Cav from Ft. Custer Montana
1894-95.” Edith Wyckoff’s grandfather, William Henry Hay (1860-1946),
was a West Point graduate and a career soldier who served as a
lieutenant at Fort Custer with the 10th Cavalry before going to the
Spanish-American War in 1898. Hay’s scrapbook includes photographs of
Indian camps and events, as well as sites and scenery at Yellowstone
National Park.
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| 3/1 |
Indians,
identified – portrait of Bad Woman (aka Mary Parker)
wearing a checkered dress and blanket shawl and holding a cigarette;
portrait of two men with one seated and holding a quirt (Big Sky or
possibly Big Hair) and the other standing holding a tomahawk (Other
Bull) (“Montana Indians”); Bull Snake, an older man (with arrows on
his chest) lying on a travois being pulled by a horse (possibly a
reenactment of wound Bull Snake suffered at the Battle of Rosebud);
portraits of Chief Plenty Coups wearing a blanket around his waist
and holding a pipe, mirror triptych, and beaded pouch with long
fringe (c. 1870); portrait of Plenty Spotted and Si-heah-wish, two
women wearing dresses and blankets; portrait of Spotted Horse (or
possibly Comes Up Red), wearing a breechcloth and belt with knife
shield, and holding a pipe and beaded pouch with long fringe
(“dressed for war or dance”); portrait of a young Crow girl
(possibly Thunder Child or Little Thunderhawk) wearing an elk tooth
dress and holding a doll in a cradleboard; portrait of All She Has
Is Yellow (age 7) standing next to her sister What She Puts In Water
Is Medicine (age 1) (“Medicine Bear’s children”). |
| 3/2 |
Indians,
unidentified – portrait of a Crow man wearing a
breechcloth, beaded belt, feathered dance bustle, bands with bells
around his calves, and a feather headpiece (possibly a buffalo dance
outfit) (“Crow Brave”) (c. 1880); Crow man crouched at the entrance
of a sweat lodge covered by blankets and quilts at the Crow
Reservation (c. 1880); portrait of three men, one seated and two
standing, wearing blanket capotes with one holding a dancing stick
and whistle; three Crow men wearing blankets and headscarves and
sitting on horseback (printed on cabinet card is “Chas. G. Snyder,
photographer,” but photo credited to Goff) (c. 1880); portrait of a
young woman standing behind a young girl, both wearing beaded and
silver jewelry and blankets over their dresses; portrait of a woman
standing in profile with a child in a blanket on her back; portrait
of a seated woman supporting a young girl in an elk tooth dress
standing next to her; portrait of a young woman with unbraided hair
wearing a fabric dress, necklaces, and a blanket; portrait of two
women seated and wearing dresses and blankets, each holding a young
child (one wearing a cap and one holding a doll). |
| 3/3 |
Indians,
unidentified – portrait of a young Crow girl with
unbraided hair wearing a rose-print dress and necklace; portrait of
a young Crow girl wearing a dress, blanket, belt, and many rings
(1888); portrait of a young Crow girl (wearing an elk tooth dress,
long belt, and blanket around her waist) holding a string attached
to a small dog sitting at her feet; woman and two young girls
wearing elk tooth dresses standing near a small teepee and shade
arbor (“Dakota, Indians decked out in elks teeth”) (1885); two young
girls (possibly Crow or Blackfeet) wearing blankets at a log pile in
a field; a young Indian boy and two men standing by a table that
holds two miniature teepees; group of men (one possibly Medicine
Crow) and boys standing and on horseback in a field possibly at Crow
Agency (“waiting for rations”) (c. 1890s); group of men standing and
on horseback by a wire fence (“waiting for rations”); women,
children, and dogs sitting on the ground in front of a fence
(“resting”); group of young girls (wearing dresses) and boys
(wearing jackets and holding brimmed hats) standing with adults on
the steps of a building (“Indian school”). |
| 3/4 |
Indian
events – large group of men (Indian and non-native; one
may be Pretty Eagle) seated, standing, and on horseback (one man
holds an umbrella, others hold feathers, a fan, and a tomahawk);
five soldiers sitting on the ground playing cards with six Indian
men and two horses standing behind them (possibly in old Fort Custer
area); large group standing outdoors in front of a building with a
flagpole (“Indian parade on Ft. Custer’s parade ground”); group of
men standing near shade shelters possibly at a Four Directions dance
celebration (“waiting for the music”); three men wearing feather
headdresses standing near tents and a flagpole; group of men dancing
near a flagpole (with a pile of bustles at its base), shelters, and
teepees possibly at a Hot Dance or Bustle Owners Dance; men dancing
in groups of four near teepees; large group gathered around two
large ceremonial teepees (possibly a Tobacco Society adoption
ceremony); six children standing together outdoors; young girl
sitting on a horse decorated with a hide and fringed beadwork;
burial scaffold in a tree with the remains wrapped in a buffalo
hide. |
| 3/5 |
Indian
camps – person (wearing a blanket) with horses, dog, and
teepees at Crow Agency; man, children, horses, and dogs at teepee
camp in trees, possibly at Crow fair; men on horses near large
teepee with horses, wagons, and other teepees behind; men (two on
horses) and woman by a teepee and meat drying rack (‘Crow teepi”);
men, women, children, horses, and dogs near teepees and meat drying
racks (“drying meat”). |
| 3/6 |
Hay Scrapbook,
Indians – wagons and teepees (“camp of Cheyenne Indians”)
(cyanotype); horses, wagons, teepees, and arbor shelter (“camp of
Crow Indians”) (cyanotype); two horses drinking from a stream near a
rock and tree-covered bank (“Crow camp”); a teepee and tent camp on
the bank of a river (possibly Reno Creek at Garry Own Hill [aka Bell
Fell Down]); four men riding horses across a river; women and girl,
horses, wagon, and dog near four teepees; man wearing a blanket and
headscarf and holding a pipe and standing near several teepees
(possibly at the junction of Little Bighorn River and Pryor Creek)
(cyanotype); five men (including Bell Rock and Plenty Coups [wearing
sleigh bells like a bandolier]) standing outdoors wearing
breechcloths and feathers in their hair; woman with a cradleboard
(carrying an otter hide) on her back standing with group of women
(some with umbrellas) seated on the ground with teepees, wagons, and
other groups in the distance. |
| 3/7 |
Hay Scrapbook,
Indians – group of men dancing wearing bells, bustles,
and body paint, with some holding feathered staffs and one with a
horsetail whip (possibly the Hot Dance Society) (cyanotype); two men
dancing, one wearing a horsetail bustle (cyanotype); men with raised
arms kneeling on the ground near a pile of bustles with other men
seated and on horseback behind a shelter (cyanotype); group of men,
some wearing feather and horn headdresses, dancing outdoors
(possibly the War Dance Society); group of young boys dancing as an
older man with a stick and tin cup keeps time (possibly during an
adoption ceremony for the Hot Dance Society); men (including
individuals wearing bustles, pine martin headdress, and fox tails
above moccasins ) dancing in front of a pole; group of dancers near
a flagpole and men seated around a drum and umbrella; group of men
wearing dance aprons and bells dance near a pole; group of dancers,
one carrying a U.S. flag, possibly members of the warrior
societies. |
| 3/8 |
Hay Scrapbook,
Indians – women covered with blankets watching men dance
near teepees, shelter, and pile of gifts (possibly a give-away
ceremony); group of men, some wearing body paint and one with a
horned mask, standing near a large campfire at night; two young
girls (one wearing an elk tooth dress and holding an ash whip)
sitting on a horse with a mountain lion hide saddle blanket near a
tent camp; portrait of three young girls standing together wearing
necklaces and elk tooth dresses; group of young girls wearing white
dresses performing on a stage, some with instruments (violin,
autoharp, tambourine, and piano) (“Indians playing ‘St. Cecelia’”);
men, one on horseback roping a calf, and boys branding calves in a
pole corral. |
| 3/9 |
Hay Scrapbook,
YNP – two men standing outside a log building near a
flagpole (“soldier’s station Tower Basin, the two Bills in
foreground, M. Meade, W. Williams”); stream in foreground with
geyser and trees behind (“soldier’s station”); man standing near
erupting geyser (“Old Faithful end of performance, Williams
observing same”); erupting geyser (“Old Faithful in full blast”);
lake surrounded by trees (“Faithful and Thumb”); view of geysers and
trees at Lower Basin; road along trees and cliff at Norris Basin;
road going up to Mount Washburn; Mount Washburn in the distance;
dead trees and geysers at Obsidian Cliff. |
| 3/10 |
Hay Scrapbook,
YNP – river in a steep canyon (“up the canyon from
Inspiration Point” and “downstream from Inspiration Point”); river
in steep canyon (“down the canyon”); view of trees and mountains
(“from Pt. Lookout” and “northeast from Continental Divide”); river,
trees and mountains (“view from Uncle Tom’s Ladder” and “ view from
foot of ? ladder”); Gibbon River, trees, and falls. |
| 3/11 |
Hay Scrapbook,
YNP – Gibbon Falls, cliffs, and trees; Tower Falls
cascading down a cliff (“315’ high, canyon 8-1000’”); Upper Falls,
cliffs, and trees; Yellowstone River below Tower Falls; concrete
bridge over Yellowstone River above Upper Falls near Canyon Village;
trees and unidentified lake in the distance; large lake and far
shore; women at house on lake with log breakwater, boat dock, and
equipment on a wagon. |
| 3/12 |
Hay Scrapbook,
Miscellaneous – two soldiers, mules and wagons at tent
camp; row of covered wagons near a grove of trees; portrait of Brady
Jewell (also identified as Pierre de Chein ?), “½ Indian, ½ Negro,”
10th Cavalry soldier, wearing a long jacket, cap, beaded gloves and
moccasins (identified by Bud Lake as Sioux moccasins), and holding a
cane; monument enclosed in fence at Little Bighorn Battlefield; man
(smoking a pipe) and woman seated at piano at home of W.H. Hay; two
men (one in uniform) and a woman playing instruments (guitar and
mandolin) seated next to a decorated tree at the home of W.H. Hay;
men and women seated on the ground at a picnic (cyanotype); five
domestic sheep with curled horns standing next to a log
fence. |
| 3/13 |
Miscellaneous – woman (possibly Mrs. Orser ? from the
boarding school) wearing a long dress and cap sitting side-saddle on
a horse in front of a teepee with buildings behind; interior of
living room of W.H.E. Bowen’s quarters at Fort Custer including
wicker furniture and Japanese lantern and fans (1885). |
Subseries 13: Robert W.
Griffing
R.W. Griffing was a resident of Billings. He produced black and white
postcards of Indians, the Little Bighorn Battlefield, and community
landmarks in Billings and Shelby. In addition to postcards, Griffing
also sold a packet of small souvenir photographs entitled "10 Assorted
Snapshots of Custer Battlefield and Indian Scenes" for tourists. Some of
these photographs were also marketed individually in postcard format.
Griffing printed “RWG" and a number on his postcards. However, there are
postcards with this labeling that are photographs actually taken by Fred
E. Miller and these are found in subseries 18 below. The Griffing
subseries also includes views of two Montana towns, Billings and
Shelby.
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| Box/Folder | |
| 4/1 |
Indians –
three men wearing feather headdresses and sitting on horseback on a
street with buildings behind ("Montana Indians"); man walking in a
field with teepees, horses, and wagons behind him ("Crow Indian
Village"); teepees and arbor shelter by hillside ("A Crow Indian
Camp"); men dancing wearing blankets and blowing whistles decorated
with feathers ("Indian Sun Dance”). |
| 4/2 |
“10 Assorted
Snapshots of Custer Battlefield and Indian Scenes” –
Chief Plainfeather wearing a feather headdress and sitting on a
horse in front of a teepee; three older men (Jack Covers Up, Plenty
Hawk, and Plenty Coups) with vests and brimmed hats standing in a
grove of trees ("Crow Indian Braves") (also a postcard); two women
wearing blankets and headscarves standing on a street near a large
tree ("Crow Indian Maidens") (also a postcard); a row of teepees
near trees ("Crow Indian Village") (also a postcard); men in feather
headdresses dancing as men wearing brimmed hats sit on the ground
around a drum during a Sun Dance ("Crow Indian Tribal Dance") (also
a postcard); view of gravestones and Custer Monument (“Historical
Custer Battlefield”); arch over road and fence (“entrance to Custer
Battlefield”); Custer monument inside a metal fence; rows of
gravestones with building in distance (“National Cemetery”);
historic sign with title "Garryowen" ("brief Historical facts of
Custer Massacre"). |
| 4/3 |
Custer
Battlefield, Billings, and Shelby – stone building,
hedge, and entry gate at Custer Battlefield ("Custodian's
Headquarters"); Custer Monument surrounded by a metal fence; road
and cliffs along Airport Road in Billings; outdoor statue of a man
and a horse on a stone pedestal ("Range Rider of the Yellowstone,
airport, Billings" and "Bill Hart Monument at airport, Billings");
Billings post office, a large stone building; three-story building
with "Rainbow Hotel" sign and automobiles parked on the street in
Billings; brick building and steeple with cross ("St. William's
Roman Catholic Church, Shelby"). |
Subseries 14: Mark Edgar Hopkins
Hawkes (1853-1932)
M.E. Hawkes was born in Maine. He operated a photo gallery in West Union,
Iowa, from 1878 until his family moved to Red Lodge around 1906. M.E.
and his father, Charles L. Hawkes, built Hawkes & Son Photography
Studio. When Charles moved to Great Falls, Mark's son Harry joined the
business which operated until 1919.
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| Box/Folder | |
| 4/4 |
Indians –
portrait of "Chief Plenty Coups, Crow Indian" wearing a leather
jacket (with fringe on the shoulders), vest, shirt, and necklace (c.
1909). |
Subseries 15: F. J. Hiscock
(1873-1951)
F. J. Hiscock arrived in Cody, Wyoming, in 1904 and described himself as
a "pioneer photographer of Cody and the Big Horn Basin." This subseries
includes a black and white postcard of Indians (labeled "Hiscock Photo,
Cody, Wyo.”) and a series of thirty photographs that was sold as a
souvenir set entitled "A Collection of Choice Views of the Cody Road and
Yellowstone Park, made and guaranteed by F. J. Hiscock, 'The Picture
Man', Cody, Wyoming."
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| Box/Folder | |
| 4/5 |
Indians –
group of men wearing brimmed hats sitting on horseback in a line
("Crow Indians at Cody Stampede"). |
| 4/6 |
“Collection of
Choice Views of Cody Road and YNP” – “inlet to spillway"
with roadway, 300-foot tunnel, cliffs, and Buffalo Bill Reservoir;
"air view of entire project" with Buffalo Bill Reservoir, spillway,
dam, power plant, and road; Buffalo Bill Dam, cliffs, and spillway;
“dam hill" with road, dam, and spillway; Box Canyon or Cody Pass
with road, dam, and spillway; automobiles on Lake Shore Drive with
tunnels running along the lake; “three tunnels on Lake Shore Drive”;
“road in Shoshone Canyon” (looking toward Cody) with automobiles on
road running along river; “Chimney Rock” formation; “Holy City”
cliff formation. |
| 4/7 |
“Collection of
Choice Views of Cody Road and YNP” – Palisades Drive with
river, road, and cliffs; Buffalo Bill Statue (on horseback) by
artist Gertrude Vanderbilt Whitney; "Col. W.F. Cody (Buffalo Bill)
and Crow Indians" (one is Plenty Coups) on horseback on street with
buildings behind; Sylvan Lake with Mount Langford (aka Old Volcano
and Top Notch Mountain) in background; moonlight across Yellowstone
Lake; Lower Falls of the Yellowstone; Upper Falls of the Yellowstone
with a bridge across the canyon in the distance; Tower Falls
cascading into Tower Creek; Kepler Falls and trees; Grand Canyon of
the Yellowstone with waterfall, river, and cliffs. |
| 4/8 |
“Collection of
Choice Views of Cody Road and YNP” – Old Faithful Geyser
erupting with spectators watching; Lone Star Geyser erupting;
Riverside Geyser erupting; birds eye view of Old Faithful Inn and
Geyser; Devil's Punch Bowl formation at Upper Geyser Basin; Grotto
Geyser formation; “wild game in Yellowstone" (deer); Jupiter Terrace
travertine terrace; bear sow and two cubs; view across Jackson Lake
in Grand Teton National Park; Cody Road and Sylvan Lake. |
Subseries 16: Jessamine Spear
Johnson (1886-1978)
Jessamine Spear was born in Sheridan, Wyoming, and married William V.
Johnson in 1906. The family moved in 1917 to Kirby, Montana, where they
raised cattle and sheep in Big Horn County. Jessamine Johnson was a
photographic artist taking thousands of photographs of cattle on the
ranges, some of which she provided to the Northern Pacific Railroad. She
also photographed the mountains and canyons of the Big Horns during pack
trips she organized for tourists. She was acquainted with and
photographed both Cheyenne and Crow Indians living in the area.
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| Box/Folder | |
| 4/9 |
Indian
burial – a coffin on the bed of a wagon left in the
bushes (“Burial wagon of a Crow chiefton”). |
Subseries 17: Henry R. Locke
(1867-1927) and Charles Peterson (1869- )
/ Locke and Peterson
H.R. Locke was born in Pennsylvania and worked as a photographer in
Deadwood, South Dakota. In 1894-1895 he did a series of Little Bighorn
Battlefield views for the Burlington Railroad. Charles Peterson was born
in Sweden and worked in Nebraska before moving to Deadwood where he
opened a studio in 1892 known as Locke and Peterson. Peterson bought out
Locke in 1902 and then opened a gallery in Lead in 1911 known as
Peterson and Wilson.
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| Box/Folder | |
| 4/10 | Indians – horses, teepees, wagons, and
long line of people on horseback ("Indian camp and parade, Crow
Agency, Mont. on the B & M RR") (similar image is dated 1895);
teepee camp with horse, wagons, and meat drying on racks; man
(wearing a feather headdress and holding a sword), women, child,
dog, and horses outside a teepee next to meat drying on racks
("Indian chief and family smoking meat, Crow Agency, Montana on the
B & M RR") (1895); "group of 100 Indians dressed as warriors,
Crow Agency, Mont. on the B & M RR" (1895); group of men lined
up on horseback with others on hilltop above ("a fine group of Sioux
Indian warriors on their ponies in war costume, Crow Agency, Mont.,
on the B & M RR") (1895); men, women, and young boy standing
near water streams at a hot springs. |
Subseries 18: Fred E. Miller
(1868-1936)
Fred Miller was born in Chicago and grew up in Iowa. In 1898 he was
appointed Chief Clerk of the Indian Service at Crow Agency, Montana,
where he worked and photographed the reservation residents and
activities until 1913. In 1905, Miller was formally adopted into the
Crow Tribe. Later he served as the first County Clerk for Big Horn
County. This subseries includes formal portraits, outdoor photographs of
events, and postcards. A few postcards credited to Miller as the
photographer were produced and sold by others, including some printed
with “RWG” (for Robert W. Griffing) and some with “Chapples Drug Store”
in Billings (which may have purchased the Miller negatives after his
death). Miller’s granddaughter, Nancy Fields O’Connor, created an
exhibit and published a book in 1985, Fred E. Miller: Photographer of
The Crows, which documents her grandfather’s photography.
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| Box/Folder | |
| 4/11 |
Indians,
identified – Chief Bell Rock, a Crow man, standing near
an arbor wearing a blanket and holding a brimmed hat (postcard has
“Chapple’s” printed on it); portrait of Chief Black Hair wearing a
shirt with ermine pelts and holding a kerchief and large feather
(postcard has “RWG” printed on it); portrait of Bull Don’t Fall Down
sitting on a pinto horse and holding a feathered lance, with teepees
and a group of men sitting on the ground behind him; portraits of
“Child of the Sun,” a young girl with short hair wearing an elk
tooth dress and standing near a teepee (postcard has “RWG” printed
on it); Sioux woman (possibly “Mrs. Cummings, Dick Cummings mother”)
standing outdoors wearing long breastplate and skirt with wide
horizontal stripes (possibly Kiowa or Pawnee) with buildings behind
her (“Northern Montana”) (c. 1894); portrait of Curly, a Crow man,
wearing a shirt and a shell choker necklace; man (possibly Don’t
Mix) wearing a feather headdress sits on horseback near two teepees,
one with a medicine bundle; portrait of Fire Bear wearing a feather
headdress and fringed shirt and holding a pipe; Gives to the Sun, a
woman, standing outdoors wearing a blanket over her dress; man
(wearing a brimmed hat) and two children on horseback in front of a
teepee (“holiday costumes”; “possibly Black Hair and his children”);
Good Woman, a Sioux woman, (wearing a dress with decorated bodice
and a long belt) standing near a tree with a blanket or cape hanging
from a branch and a hat on the ground. |
| 4/12 |
Indians,
identified – two older men, Hairy Moccasin and Corner of
the Mouth, and three young children standing by a teepee with horses
painted on it at Crow Agency (c. 1895); Aloysius Holds the Enemy
(aka Long Spear and Al Holds), a young boy, standing outdoors
wearing pants, bandolier of flicker feathers, and feather roach,
with white clay in his hair; portrait of Hoop on the Forehead (also
identified as Hunts Them and Kills Them), an older Crow man, wearing
a breastplate, smoked buckskin jacket with dot and tulip decoration,
and feather headdress; Horace Long Bear and Ralph Saco standing
outdoors wearing breechcloths, breastplates, bells, fur wristbands,
and feather roaches in their hair; man (possibly “Ben Long Ear, Crow
Indian”) wearing a blanket and feather headdress and sitting on a
horse near teepees; portrait of Judge Medicine Crow wearing a shirt
and feather headdress (on back of photo is a pencil drawing of an
Indian man wearing a brimmed hat and chaps) (1905); Medicine Horse
(aka Medicine Horse Whip), a Crow man (wearing a breechcloth,
breastplate, bells, and feather roach) holding a blanket and
standing outdoors near a row of teepees; portrait of Hannah Morrison
Hugs (aka Hannah Wings; “daughter of Alvin Morrison, married Leo
Hugs, went to Carlisle”) a young woman wearing an elk tooth dress;
Joe Not Afraid, a young boy, standing outdoors wearing a long
fringed and beaded jacket and kerchief and holding a bag or hammer
stone decorated with hawk feathers; Mrs. Packs the Hat (also
identified as “Long Nose, Crow woman”) (wearing an elk tooth dress
and beaded hoop earrings) standing in front of a teepee; portrait of
a young woman, wearing an elk tooth dress, and a man, wearing a
neckerchief and necklace (“Crow Indians Robert Raise Up with wife
Tinkling Bells, Amy Yellowtail Whiteman’s uncle”); two girls (Red
Snake and Hot Otter) wearing elk tooth dresses sitting on horses
near a teepee (“ready for a parade”); Red Snake and Hot Otter, two
young girls, wearing elk tooth dresses and standing in front of a
teepee; portrait of a man (“Crow Indian Sees With His Ears or Looks
With His Ears”) wearing a shirt, necklaces, and a feather headdress
decorated with bells. |
| 4/13 |
Indians,
identified – Shell on the Neck and his grandson (wearing
feather headdresses and jackets decorated with ermine pelts and
fringe) standing near a teepee camp; portrait of Spotted Otter (Mrs.
William Comes Up Red; also identified as Mrs. Black Hair), a young
woman, standing outdoors wearing a blanket over her dress (1902);
portrait of Stays High (aka Lives High and Mrs. Plainfeather)
holding a baby in a cradleboard (with rainbow design) near buildings
and a road; Chief Two Leggings and Black Hair with a group of men
wearing breechcloths, headdresses, and bells, and holding bird
rattles and other ceremonial items (postcard has “Chapples” printed
on it); portrait of a man (“Weasel Bear, Okalala [Oglala ?] Indian”;
aka Joe Mountain Pocket) wearing a shirt and brimmed hat with a
feather; Inez Wesley, Lillian Jefferson, and Mary Schaeffer
(Schaffer), three young girls standing outdoors and wearing elk
tooth dresses (1902); Where She Sits (also identified as Sits Down
Spotted Horse and Agatha Gardner), a young woman, sitting on
horseback holding a lance and shield (postcard has “RWG” printed on
it); White Man Runs Him standing near an arbor and wearing a fringed
jacket and gloves, and holding a brimmed hat; portrait of White Swan
(wearing a feather headdress and holding a feathered lance) sitting
on horseback near a teepee (postcard has “RWG” printed on it);
portrait of White Swan (bust) wearing a shirt with fringed collar
and a feather headdress decorated with ribbons and ermine pelts;
White Swan (wearing a blanket, vest, brimmed hat, and kerchief)
standing on a boardwalk in front of a picket fence and house (1901);
Young Eagle (age 14; aka Yellow Eagle), daughter of Other Bull and
Pretty Hail, wearing an elk tooth dress and standing at the entrance
of a teepee. |
| 5/1 |
Indians,
unidentified – portraits of a two men (one possibly a
Cheyenne Indian and one possibly a Sioux) wearing a fringed jacket
and feather headdress decorated with ribbons and ermine pelts; Nez
Perce (or possibly Cheyenne) man wearing a blanket with weasel track
pattern and long-loop necklace and standing outdoors; two men (one
with a police badge pinned to his vest, possibly Short Bull) seated
near a fence and working with tools while people behind the fence
watch; eight men and one young boy (wearing feather headdresses)
seated under a shade arbor; portrait of a young woman (possibly Mrs.
Ketosh?) wearing a blanket and a feather headdress; portrait of a
woman wearing a dress with decorated bodice (fish teeth or shells)
and a long belt (possibly Kiowa or Pawnee); baby in a cradleboard
(with beaded rainbow design) on the back of a woman seated on the
ground (postcard of this image has “RWG” printed on it); woman
wearing an elk tooth dress standing by a cradleboard (with weasel
tracks design) holding a baby; woman (wearing a headscarf, long
belt, and blanket) with a child on her back and standing near other
people, a dog, horses, and buildings; woman and young girl (wearing
elk tooth dresses) standing by a teepee near wagons and other
teepees; four young Crow children and two women (one holding a baby
in a cradleboard) sitting outdoors near a building; four young Crow
children standing outdoors with a building behind them. |
| 5/2 |
Indians,
unidentified – woman with two young girls (wearing elk
tooth dresses) standing on the porch of a building (one girl is
wrapped in a blanket on the woman’s back); three women and a young
girl wearing elk tooth dresses and blankets standing outdoors; young
woman holding a baby and standing on the rocky shore of a river with
two other young girls (“on the banks of the ‘Greasy Grass’”); young
boy wearing a striped blanket capote and standing outdoors near
people, buildings, and wagons; portrait of a young boy wearing a
long beaded (floral design) jacket, neckerchief, and brimmed hat;
Crow boy (with back to camera) near an arbor and wearing a vest
decorated with the image of a man on horseback; young girl wearing
an “elk tooth sailor dress” with horses, wagon, and a building
behind her; young girl on horseback with a doll in a cradleboard
hanging from the saddle (“Crow girl on her way to a parade”); long
line of children on horseback near a teepee (“possibly 1st Crow Fair
parade”); man and child on horseback beside a covered wagon crossing
the Little Bighorn River (1910); two men seated by a teepee playing
drums as a young girl watches; four men (one possibly Bull Don’t
Fall Down; one holding a wolf skin), a woman, and a young child
standing outdoors wearing blankets (“Crows and Nez Perces”); six
Crow men on horseback (wearing uniforms and holding rifles) in front
of two teepees with four women and others standing nearby (“Crow
scouts”); group of men on horseback crossing a river (“Crow War
Party”) (postcard has “Chapple’s” printed on it). |
| 5/3 |
Indian
ceremonies – group of men dancing near trees (“Crow
Indian Hot Dance at St. Xavier, on the bank of the Little Big Horn
River”); group of men dancing near flagpole as others on horseback
watch (“A Crow Hot Dance on the 4th of July”); group of women
wearing blankets and seated on the ground watching men dance near a
flagpole (“A ‘give away’ during the 4th of July Hot Dance”); group
of men, wearing feather headdresses and brimmed hats, standing
together with several horses (“Crow giveaway ceremony”); group of
men (one holding a rifle) dancing near trees and an arbor with
cliffs in the background; men seated in the grass playing drums as
others stand in a line, possibly during a dance; women (one with an
umbrella) seated on the ground near men on horseback and in wagons
(“Crow men & women at tobacco planting”); men (some with ermine
tails on their foreheads) and women (some with umbrellas) seated on
the ground in separate groups with horses and wagons behind them;
women and men (some with sticks) working in a garden (“Crow tobacco
planting”); two men holding sticks watching a group dancing
(probably tobacco planting ceremony); large group, some seated and
some on horseback, near a windbreak and tree (“Crow tobacco dance”);
four men (with backs to the camera) wearing capes (decorated with
crosses and elk teeth) and feather headdresses (“Crow Indians in
tobacco planting ceremony”); men (wearing breechcloths, headdresses,
belts with metal discs, and bells, possibly from the Ree Society)
and others (wearing elk teeth capes) dancing with backs to the
camera (“A Crow ceremonial dance”); group of men (wearing feather
headdresses; two covering their faces with feathered lances) seated
outdoors on chairs with other men, some on horseback, behind them;
group of men (some wearing headdresses) seated on chairs arranged in
rows (“Crow Indian council”); Crow men standing in a line outdoors
with drums as others, some on horseback, watch (“Crow Indian Band,”
possibly from Black Lodge; possibly Tobacco Society adoption
ceremony) (July 3, 1898). |
| 5/4 |
Indian
camps – large camp with teepees and tents (“Crow camp
near Crow Agency”) (postcard has “Chapples” printed on it); horses,
wagons, teepees, and pole with bundle; man with horses, wagons, and
teepees; teepee with flap covering entrance; wagon next to teepee
with hats and blanket above the entrance; men in horse-drawn wagon
and man and boy on horseback near teepees and tent (“visitors in
camp”); six men (one on horseback) and two children standing in
front of two teepees (“Reno Ranch Indians”); man on horseback riding
through teepee camp toward wagon; men, wagons, horses and teepees;
two women and a dog near a teepee with a bundle above the
entrance. |
| oversized | |
| M-3 |
Indian
camps – horses standing in a river with a teepee camp on
the bank behind them. |
| Box/Folder | |
| 5/5 |
Indians
miscellaneous – coffin wrapped in tarp on a burial
scaffold (“four pole Crow burial scaffold, a hillside in spring”);
two burial scaffolds made of poles holding coffins covered with
tarps and blankets; interior of room decorated with feather
headdresses, fringed shirts, beaded pouches, and a beaded vest
(“Indian artifacts B.I.A.”; “Crow trappings”). |
Subseries 19: T.A. Morris / T.A.
Morris Studio
T.A. Morris operated a studio in Sheridan, Wyoming, and took photographs
of people and events at the local rodeo in 1906. This subseries includes
four photographs that have been matted, numbered, and titled by Bud
Lake.
|
|
| Box/Folder | |
| 5/6 |
Indians –
crowd sitting on wooden bleachers watching an event (“Hannah –
mother, brother & sister, Edward Iron, Firebear’s wife Paul
Kills”) (1906); three young girls (“Annie Blair [possibly Blain],
Philomena Five, Julia;” two wearing elk tooth dresses) sit on horses
decorated with beaded tack, near other people on horseback and
seated on bleachers behind them (1906); two men on horseback on
track in front of viewing stand and spectators at the fence (“Indian
relay race”) (1906); large teepee and tent camp with wagons and
horses (1906). |
Subseries 20: Archie L.
Nash
A.L. Nash was a photographer at Sheridan, Wyoming. In 1945 he
photographed a Crow Indian Sun Dance.
|
|
| Box/Folder | |
| 5/7 | Indians – three men (one with a
whistle in his mouth) wearing blankets and necklaces and dancing
near trees (“Crow medicine dancer, showing eagle bone whistle”)
(1945); man with a whistle in his mouth dancing near a tree (“the
medicine man starts the show”) (1945). |
Subseries 21: O’Neill Photo
Company
The O’Neill Photo Company was in O’Neill, Nebraska, and produced photos
of Indians at Rosebud, South Dakota, during the period 1915-1925. The
company also produced photos of Indians taken in Wyoming, including
postcards of rodeos and parades at Sheridan in 1935.
|
|
| Box/Folder | |
| 5/8 |
Indians --
man wearing a brimmed hat and sitting on a pinto horse (“Old Spotted
Horse at Spotted Horse, Wyo.”); man wearing brimmed hat sitting on
horseback and holding reins of two other horses (“Crow Indian horse
trader”)(probably taken by Jacob F. Standiford who worked in the
Oklahoma Indian Territory; the man in the photograph may not be
Crow); three men (two wearing feather headdresses) and two young
boys sitting on horseback in front of a teepee (“Indian Chiefs”);
Crow men wearing feather headdresses and riding horseback along a
commercial street in Sheridan (business signs include “Edelman
Drugs”, “Foote”, “Tom Hurst Furnishings”) (“Crow Indians in
Sheridan, Wyo. Rodeo Parade”) (1935); three women riding horseback
along a commercial street in Sheridan (business signs include
“Piggly Wiggly” and “Schaeffer’s News Stand”) (“Indian girls,
Sheridan, Wyo. Rodeo Parade”) (1935); four Crow women, a young girl,
and a man riding horseback in a line near a tent camp (“Crow Indians
parading”); a young Crow boy on horseback leading two other horses
ridden by small girls wearing elk tooth dresses (“Crow Indians off
to the celebration”). |
Subseries 22: S.W.
Ormsby
S.W. Ormsby, an amateur photographer, was employed by the Fort Peck
Indian Agency at Wolf Point, Montana, in the 1890s. The reservation was
home to the Assiniboine and Sioux tribes. According to a note with the
photograph described below, it was found at the site of a Great Northern
Railroad wreck near Saco, Montana.
|
|
| Box/Folder | |
| 5/9 |
Indians –
group of men (probably Sioux, and wearing blankets and feather
headdresses) point lances at a man who is tied to a stake (“Torture
at the stake”) (October 1895). |
Subseries 23: William A.
Petzoldt (1872-1960)
W.A. Petzoldt was born in New York and moved to Sheridan, Wyoming, in
1900. He was a Baptist minister and amateur photographer. Reverend
Petzoldt came to Lodge Grass, Montana, in 1903 and for twenty-five years
took photographs of the Crow Indian people. Much of his photographic
work was destroyed by fire in 1989.
|
|
| Box/Folder | |
| 5/10 |
Indians –
three Crow men (wearing feather headdresses and shirts decorated
with ermine pelts), a woman (wearing an elk tooth dress), and a
horse stand together with buildings in the background (postcard
published by Herbert Coffeen) (1911). |
Subseries 24: Peter Paul
Prando (1845-1906)
Father Pier Paola Prando was born in Italy and was ordained as a Jesuit
priest in1875. He worked at several missions in Montana before moving to
the Crow Reservation in 1886. The following year he helped found a
permanent mission and school named after Saint Francis Xavier. In 1891,
Father Prando built the first chapel at Pryor on land donated by the
Crow Indians and in the following year arranged for three Ursuline
Sisters to travel from St. Xavier to Pryor to open the school. Beginning
in 1894, Father Prando compiled a photographic record of the people and
structures on the Crow Indian Reservation, including the St. Xavier
Mission and the Crow Irrigation Project. He was persuaded to donate a
selection of 71 of his photographs to the Bureau of American Ethnology.
Prando left the Crow Reservation in 1895, but returned in 1902 and
remained there until his death. Some photographs in this subseries were
matted and numbered by Bud Lake. One photograph has a description
written and signed by Father Prando.
|
|
| Box/Folder | |
| 5/11 |
Indians –
two Crow women (one possibly Victoria Big Shoulder; one holding an
infant) wearing elk tooth dresses and standing outdoors (“Crow
squaws at big dance on Custer Battlefield, July 4, 1894”); three
Crow women (two are smiling) hold buckets and stand on the bank of
the Little Big Horn River (“The Three Maidens”) (note on back signed
by P.P. Prando: “See the artistic shot. See the ____ happiness in
the wild creatures. They want their picture taken [and] are tickled
to death with the thought of it. One is getting the bucket into the
river, but first she must enjoy a laugh [at the] photographic
apparatus. They are upon an old tree which [is] in the Little Horn
River.”) (c. 1885); four men (including Father Prando) and a group
of young boys with brass instruments and drums on the steps of a
church (“Father Prando with Crow boys brass band”) (c. 1885); Bishop
John B. Brondel (first bishop of Montana) and two Crow men standing
near teepees, wagons, and horses with a church and another building
behind them (“an Indian mission of the 90’s, Crow Agency”) (c.
1885); people standing on the steps of a four-story stone building
(St. Paul’s Mission, Fort Belknap Reservation at Hays) (1905); large
group of people (some on horseback) from St. Paul’s Mission,
including girls and boys wearing uniforms and seated on the ground,
gathered under a grove of trees. |
Subseries 25: Frank
Purcell
Frank Purcell lived in Billings, Montana, and in June 1897 he copyrighted
a double exposure photograph of the Custer Battlefield and Bloody
Knife.
|
|
| Box/Folder | |
| 5/12 |
Custer
Battlefield – people at the Custer Battlefield burial
ground with a faint shadow of a man with a knife (1897). |
Subseries 26: Wayne Andrews
Ransier (1882-1940) and Miriam
Ransier
W.A. Ransier was born in North Dakota and attended dental school in
Chicago. He opened a practice in Cut Bank, Montana, and in the late
1920s had a dental office in Hardin. Dr. Ransier and his wife, Miriam,
took photographs of Crow Indians and Crow Indian Fairs.
|
|
| Box/Folder | |
| 5/13 |
Indians –
men (wearing feather headdresses) riding on horseback near teepees
and an arbor; portrait of Josephine Pease and Rose Huggs (wearing
dresses decorated with fringe and beadwork) holding blankets and
standing by a teepee. |
Subseries 27: Frank A.
Rinehart (1861-1928)
F.A. Rinehart was born in Illinois. He traveled west to Denver in 1878
and then to Omaha in 1885 where he established a portrait studio. For
the 1898 Indian Congress, held in Omaha in conjunction with the
Trans-Mississippi and International Exposition, Rinehart was
commissioned to photograph events and the Native Americans who attended.
During 1899-1900, Rinehart and his assistant Adolph Muhr traveled to
Indian reservations, including the Crow Reservation, to photograph
individuals who were unable to attend the Congress. Many years after the
Indian Congress, the “Rinehart Marsden Photographic Prints of North
American Indians” were offered for sale in two leather-bound albums
containing 130, 16” x 20” photographs for a cost of $1,600. Selected
individual 4”x 4”x 5” brown-tone photographs could also be purchased.
The portraits in this subseries are from the Indian Congress project and
are printed on thick, textured paper, possibly removed from a
publication. Several of these photographs were matted and numbered by
Bud Lake.
|
|
| Box/Folder | |
| 6/1 |
Indians –
portrait of Chief Bill Rock (aka Bell Rock), an older Crow man
(wearing a vest and feather headdress with bells decorating the brow
band) holding a pipe (“famous medicine man who had never been off
the Crow Reservation”) (1900); portrait of Chief Black Eagle, a Crow
man, wearing a striped shirt and feather headdress decorated with
ribbons and bells on the brow band (1899); portrait of Crazy Pen
d’Orille, a Crow man, standing outdoors wearing feathers in his hair
and holding a feather staff and shield (“great Crow warrior”)
(1899). |
| 6/2 |
Indians –
portrait of Spies on the Enemy, a Crow man, wearing a shirt
decorated with ermine pelts, many necklaces, and a headdress of
feathers and horns (1899); portrait of White Swan, a Crow man,
wearing a striped shirt and feather headdress decorated with ermine
pelts (“one of Custer’s chief Indian scouts who was with him when he
lost his life and was found and rescued by Major Reno”) (1899);
group of Crow women on horses (decorated with beaded tack) near men
on horseback and a tent camp (“mounted squaws, Crow”) (1900); five
Crow women wearing elk tooth dresses and sitting on horses with
decorated tack (“mounted squaws, Crow”) (1900). |
Subseries 28: Andreas Risem
(1867-1957)
A. Risem was born in Norway. He had a photograph studio in Bismarck,
North Dakota, for thirty-three years. During the 1930s he was
commissioned to document construction of the North Dakota capitol
building.
|
|
| Box/Folder | |
| 6/3 |
Indians –
portrait of William Moore (aka Bull Bird), a Crow man, wearing a
jacket with lapel pin and a neckerchief (tinted photo). |
Subseries 29: Kenneth Francis
Roahen (1888-1976)
K.F. Roahen was born in Dighton, Kansas. He started his career as a
federal game warden in 1924 in Illinois and was transferred to the bison
range in Moise, Montana, in 1930. He eventually worked in Yellowstone
National Park and the Billings, Montana, region, retiring in 1955.
Roahen received his first camera in 1902 and during his life took
photographs of wildlife, the Little Bighorn Battlefield, and the people
and events of the Crow Indian Tribe. Many of his photographs were sold
as postcards at gift and tourist shops. Roahen purchased some of Richard
Throssel’s glass plates from the period 1904-1911, and sold prints of
Throssel’s work signed “KFR”. In June 1941, Roahen attended and
photographed the Crow Indian Sun Dance at Pryor, the first to be held in
nearly fifty years due to a ban by the federal government because of
participants’ self-torture. The Sun Dance event included building a Sun
Lodge, morning prayers and blessings for the sick by the medicine man,
and continuous dancing for three days and nights with dancers taking no
food or drink. The Roahen photographs in this subseries are for research
use only. Reproductions must be obtained from the Big Horn County
Historical Museum in Hardin, Montana.
|
|
| Box/Folder | |
| 6/4 |
Indians,
identified – Max Big Man seated by a tree on a river bank
wearing a feather headdress and holding a pipe; Max Big Man standing
beside a tent painted with a man on horseback (May 1933); Myrtle Big
Man wearing a fringed and beaded dress and holding an infant in a
cradleboard (c. 1938); Myrtle Big Man carrying an infant in a
cradleboard on her back; portrait of Curly wearing a feather
headdress; Lion Shows, Bell Rock (holding a lance), and Pretty on
Top (wearing feather headdresses) on horseback. |
| 6/5 |
Indians,
identified – portrait of Plenty Coups wearing a feather
headdress and shell necklace; Plenty Coups and Vice President
Charles Curtis, both wearing feather headdresses, during Curtis’s
induction into the Crow Tribe (c. 1930); Plenty Coups and other men
wearing feather headdresses standing with Charles Curtis during
induction ceremony; two men, Stone and Eagle, wearing feather
headdress and sitting on horses during a parade; Two Leggings on
horseback holding a lance; portrait of Two Leggings wearing a long
feather headdress; Robert Yellowtail (wearing a feather headdress
and beaded gloves) sitting at an organ. |
| 6/6 |
Indians,
unidentified – portrait of a young man wearing a feather
headdress with ermine pelts; man wearing a feather headdress sitting
on a horse; man wearing a feather headdress and wide cloth sash
standing near a horse and teepee; older man wearing a feather
headdress and fringed jacket and holding a tomahawk and coyote pelt;
man wearing a blanket capote seated on the ground making arrows
(note on photo “not Crow”). |
| 6/7 |
Indians,
unidentified – woman (wearing an elk tooth dress,
neckerchief, and beaded belt) standing by a horse; woman (wearing a
fringed dress) and a man (wearing a horned headdress and vest)
standing by a teepee; woman (wearing beaded gloves) and a man
(wearing a long feather headdress) on horseback; young girl (wearing
a fringed dress, belt, and moccasins) sitting on a blanket near a
teepee; young girl on a horse decorated with beaded tack, blankets,
and an animal pelt; two young girls on horseback at Crow fair
(1938). |
| 6/8 |
Indian
camps – row of teepees in the trees (“home of the Crow
Indians”) (c. 1938); man riding a horse in front of teepees and an
arbor; large teepee camp in the distance (“Indian village”); teepee
camps on the bank of a river (“home of the Indian”). |
| 6/9 |
Indian
dancing – group of men (wearing feather roaches and
bustles, and bells) dance outdoors (“Crow Indian war dance”); men
(holding sticks and tomahawks) stand with two boys, all wearing
dress regalia including breastplates, bells, and feather
roaches. |
| 6/10 |
Sun Dance,
1941 – group of people erecting poles for a Sun Dance
lodge; men wearing blankets seated in a circle around the medicine
man during a sunrise ceremony; group of men, many wearing blankets
and blowing whistles, standing inside a pole structure; woman
(wearing a blanket around her shoulders) stands next to a man as
others watch (“blessing the sick”); a man, two women, and a young
girl stand together (“medicine man praying for sick baby”); men
seated on the ground under an arbor sharing a meal near teepees and
automobiles. |
| 6/11 |
Sun Dance,
1941 – men dancers (including Joe Leyho, Phil Artato,
Simpson Sings Good, Eddie Round Face, Campbell Big Hail, Louis
Walks, Braid Frank Coby, Tilton West, Henry Big Day, John Treho
[Trejero], William Big Day, Caleb Bull Shows, Charlie Big Ox, George
Goes Ahead, Alan Old Horn, Thomas Hill, Walter Chief, Joe Rock
Above, Bill Russell, and unidentified Shoshone and Bannack men)
stand in a line (“dancers”); man wearing fringed dance skirt, belt
and feather bracelets; two men in dance. |
| 6/12 |
Sun Dance,
1941 – men wearing blanket skirts, holding feathers, and
blowing whistles dance in groups inside a pole
structure. |
| 6/13 |
Sun Dance,
1941 – men wearing blanket skirts, holding feathers, and
blowing whistles dance in groups inside a pole structure (one dancer
is Bill Russell). |
| 7/1 |
Indian parades and
ceremonies – men (possibly Holds the Enemy and Bell
Rock), women, and children riding horseback near a row of teepees
(“scenes from Crow Indian fair”); men wearing feather headdresses
(some holding lances, staffs, or branches) and riding horses (“Crow
Indians on the march”); three men, two wearing brimmed hats and one
with a feather headdress, sitting on horseback; men (wearing brimmed
hats and feather headdresses) in a line on horseback with two other
horses wearing blankets; men, women, and children (many wearing
cowboy hats) ride horses in a parade (1949). |
| 7/2 |
Indian parades and
ceremonies – men wearing feather headdresses riding
horseback in a line (with backs to the camera); men on horseback
ride along a stream; three men and a woman on horseback (with backs
to the camera); five men wearing feather headdresses sit on
horseback (with backs to the camera); four men wearing feather
headdresses (two holding feathered lances) ride
horseback. |
| 7/3 |
Indian parades and
ceremonies – group of men (wearing feather headdresses)
on horseback; two men (one wearing a long feather headdress) on
horseback; seven men (six wearing feather headdresses and one
holding a U.S. flag) on horseback; three young girls on horseback in
front of teepees; women and girls riding horses near a row of
teepees; four women (two wearing elk tooth dresses) riding horses;
women (some wearing elk tooth dresses) on horseback (with backs to
the camera); tarp-wrapped bundles on platform in a tree (“Indian
tree burial”). |
Subseries 30: Rochford
Studio
Rochford Studio was in Sheridan, Wyoming. The studio produced postcards
of parades during the Sheridan-WYO-Rodeo. In 1944 the event was renamed
Bots Sots Stampede for the Crow Indian term for “very good.”
|
|
| Box/Folder | |
| 7/4 |
Parades –
Indian men wearing feather headdresses and riding horseback along a
commercial street in Sheridan (business signs include ”Western
Union,” “Whitney Trust” bank, and “Chamber of Commerce”); man
wearing cap, jacket, and tall boots riding horseback along
commercial street (business signs include “City Bakery,” “Gifts,”
and “Rochford Studio”) (“Bots-Sots Stampede, Sheridan Wyoming”)
(July 1949) |
Subseries 31: J.W.
Rode
J.W. Rode purchased the equipment, views, and negatives of Herman
Schnitzmeyer, a well-known photographer for the Northern Pacific
Railroad. Rode, who lived in California and Polson, Montana, planned to
market the scenic and postcard views nationally. His imprint read “J.W.
Rode, scenic photographs from Yellowstone and Glacier Parks, Teton and
Rocky Mountains in Wyoming and Western Montana, Berkeley, Calif. –
Polson, Mont.”
|
|
| Box/Folder | |
| 7/5 |
Indians –
profile portrait of Chief Two Guns (aka John Two Guns White Calf), a
Pikuni Blackfeet man, wearing a decorated shirt and feathers in his
hair (“on Am. Nickel”) |
Subseries 32: Joseph Henry
Sharp (1859-1953)
J.H. Sharp was born in Ohio and studied and taught art in Cincinnati from
1892-1902. He was a well-known artist of Indian portraits and Indian
life. He moved to the Crow Reservation in Montana where he lived and
worked, painting and photographing people and events, during the years
1902-1910. Sharp and his wife, Addie, were close friends with the
reservation agent, Samuel Gilford Reynolds, whose daughter, Carolyn
Reynolds Riebeth, wrote a memoir about growing up on the reservation and
knowing the Sharps (J.H. Sharp: Among the Crow Indians 1902-1910,
published in 1985). The photographs in this subseries are oversize
prints that were matted by Bud Lake.
|
|
| oversized | |
| M-4 |
Indians –
man (wearing a jacket and brimmed hat) sitting on a pinto horse near
four men sitting on the ground near a teepee (“afternoon pow wow”)
(c. 1905) |
| M-5 |
Indians –
three men (including Bull Goes Hunting and Medicine Crow), three
women, and a boy on horseback (facing away from the camera) near two
teepees (c. 1905) |
| M-6 |
Indians –
young girl, horses, and dog standing near a teepee and wagons (“lone
teepee in Crow camp”) (c. 1905) |
| M-7 |
Indians –
men (some wearing feather headdresses and carrying feathered lances)
on horseback riding across a river with teepees and a tent on the
bank behind them (possibly during Crow Fair) (“flag bearer crossing
the Little Big Horn”) (c. 1906) |
| M-8 |
Indians –
men (some wearing feather headdress and carrying feathered lances)
on horseback crossing a river (possibly during Crow Fair) (“crossing
the Little Big Horn River”) (c. 1906) |
| M-9 |
Indians –
teepees, tents, and wagons on the bank of a river as a horse gets a
drink (“Crow camp on the Little Big Horn”) (c. 1905) |
| M-10 |
Indians –
women getting water and horses drinking from the river at a teepee
and tent camp on the bank (“sharing water on the Little Big Horn”)
(c. 1905) |
| M-11 |
Indians –
horse-drawn wagons crossing the river going toward a teepee and tent
camp on the bank (“wagons on the Little Big Horn”) (c.
1905) |
| M-12 |
Indians –
three horses grazing near teepees, wagons, and trees (“horses in
Crow camp”) (c. 1905) |
| M-13 |
Indians –
two saddled horses tied to a tree standing in snow near four teepees
(one painted with horses and bison) and a wagon (“painted teepee in
winter”) (c. 1905) |
| M-14 |
Indians –
young girl and a dog standing between two teepees near wagons and
trees (“sunset on the Crow Reservation”) (c. 1905) |
Subseries 33: Earl E.
Snook
E.E. Snook was a resident of Billings, Montana. He was a painter and
decorator and, beginning around 1918, operated Snook Art Company selling
art, artist supplies, and framing. He and his wife, Eleanora, and
daughter, Virginia, also lived on a ranch on the Yellowstone River. The
family was friends with artists Will James and Joe de Young. On March 8,
1932, Snook photographed the funeral procession and burial of Chief
Plenty Coups at Pryor. The service was held at the chapel of St. Charles
Catholic Church and was officiated by Bishop O’Hara. Pallbearers
included George Goes Ahead, William Big Day, Nicholas Bear Tail, Joe
Gun, Frank Hawk, and Alexander Plain Feather. Plenty Coups was buried in
the family plot at his ranch in the Pryor valley.
|
|
| Box/Folder | |
| 7/6 |
Plenty Coups
funeral – altar boys and clergy leading procession into
and leaving church followed by casket carried by pallbearers; casket
in church with pallbearers; two men wearing feather headdresses and
blankets riding on horseback in the snow (“two pallbearers just
mounted leaving church to follow casket to grave”); automobiles and
horse-drawn wagons on snowy road; Joe Child In Mouth driving a
horse-drawn sled carrying the casket, followed by men wearing
headdresses and blankets riding on horseback (“burying Plenty
Coups”); pallbearers carrying the casket through snow followed by
Reverend John Frost, Plain Bull, and others (“following his body to
grave back among trees”); crowd, including pallbearers and altar
boys, gathered around the casket (“burial of Plenty Coups”); people
outside the Plenty Coups home. |
Subseries 34: Richard
Throssel (1882-1933)
Richard Throssel was born in Washington State. He moved to the Crow
Reservation in Montana in 1902 and served as the Agency’s assistant
clerk (1904-1905), clerk (1907), and field photographer (1909-1911). He
submitted 60 photos to the Indian Service of “old characters of the Crow
Reservation” and 124 prints showing reservation conditions. Throssel,
who was adopted into the Crow Tribe, lived with his family on the
reservation until 1910 when he moved to Billings and opened the Throssel
Photocraft Studio. He began marketing his Crow photographs, producing
the Western Classics series which he described as artistic
representations of Indian life. Throssel’s photographs document people,
Crow Reservation facilities, scenery, events, and activities during the
period 1905-1911. Some photographs in this subseries have been matted,
numbered, and titled by Bud Lake. After Throssel’s death, some of his
images were printed as postcards by Kenneth F. Roahen and have “KFR”
printed on them. These are noted in the descriptions below. The primary
repository for Throssel’s negatives is The American Heritage Center at
the University of Wyoming and some information given below has been
taken from that organization’s website.
|
|
| Box/Folder | |
| 7/7 |
Indians,
identified – portrait of Fannie Anderson Takes the Horse
wearing an elk tooth dress and holding her infant son, Clark Takes
the Horse; portrait of Bear Lies Down Often, an older man, wearing a
shirt decorated with ermine pelts; portrait of Big Medicine, chief
of police, wearing a jacket with a badge pinned to it; portrait of
Edward Big Medicine, a young boy, wearing a jacket decorated with
fringe and beadwork; portrait of Black Bird Runs (aka Blackbird On
the Ground), an older man wearing an earring, necklaces, and holding
a feathered staff; portraits of Wilbur Black Hair (aka Wilbur Wolf)
standing outdoors wearing a dance costume including breechcloth,
bells, and feather bustle (a postcard has “KFR” printed on it) (c.
1910); Louis Bompard, wearing a brimmed hat, feeding pigs inside of
a fence. |
| 7/8 |
Indians,
identified – portrait of Lizzie Bull Tongue, a young
woman wearing a dress and neck scarf; portrait of Carries the War
Staff (aka Carries a War Staff) wearing a blanket over her dress;
portrait of Crazy Crane, an older man, wearing a feather headdress
and holding a feathered lance; portrait of Goes Ahead wearing a
feather headdress and beaded vest; two women (one is Mrs. C. Hole),
wearing elk tooth dresses and sitting on blankets inside of a
teepee. |
| 7/9 |
Indians,
identified – Thomas Jefferson and his family (a woman,
daughter Lillian, and an infant) stand in front of a log building;
Thomas Jefferson and daughter Lillian building a pole fence; woman
(Knows Her Mother, “Martha”), man (Wet, “Plenty Coos Bro”), and dog
ride in a horse-drawn wagon; Little Wolf (aka Young Little Wolf), a
young boy, and Snow, a young girl wearing an elk tooth dress, stand
together outdoors (possibly Washoe, Oto, or Crow Indian tribal
members; also identified as children of Takes Among the Enemy);
portrait of Little Wolf, an older Cheyenne man, wearing a feather
headdress decorated with a beaded brow band and ribbons (c. 1907);
portrait of Long Otter, an older Crow man, wearing a headdress with
a bird head and claw (1905); portrait of Rose Old Bear, a young
woman, wearing an elk tooth dress. |
| 7/10 |
Indians,
identified – Lucy Old Horn holding a child and sitting in
the grass next to an older man (possibly her husband); portrait of
Plenty Coups seated in front of a building and wearing a long
feather headdress and holding a beaded bag (postcard has “KFR”
printed on it); portrait of Sharp Horn, an elderly Crow man (c.
1900); portrait of Short Bull (aka Short Two Bulls and Little Pine
Tree), an elderly Crow or Shoshone man wearing a skin and horn
headdress (postcard has “KFR” printed on it); portrait of Fannie
Stewart, a young woman wearing a scarf and shell necklace around her
neck; portrait of Sacred Mountain Sheep (wife of Medicine Crow and
sister of White Man Runs Him), a Crow woman, wearing an elk tooth
dress (identified as Strikes the Iron, wife of Plenty Coups by the
University of Wyoming); portrait of Two Leggings, a Crow man
(wearing a feather headdress and holding a staff and beaded pouch)
standing outdoors with his wife, Ties Up Her Bundles (wearing an elk
tooth dress) (c. 1906); portrait of Two Moons, an older Cheyenne
man, wearing a feather headdress decorated with beads and ribbons
(c. 1907); White Man Runs Him, Hairy Moccasin, and Goes Ahead
holding rifles and sitting on horses among grave markers at the
Little Bighorn Battlefield cemetery (“The Three Scouts”) (1908);
Wolf and two other men (one holding a rifle) sitting on horses among
grave markers (“Three Chiefs”) (c. 1905) |
| 8/1 |
Indians,
unidentified – portrait of a Crow man wearing necklaces
and with fur decorating his braids; portrait of an older man wearing
a shirt decorated with ermine pelts, a feather headdress, and
holding a staff; portrait of an elderly man (possibly Old Crazy
Head) wearing a blanket over his shirt and a brimmed hat; portrait
of man wearing a breastplate and roach headdress; portrait of a man
standing outdoors wearing a beaded vest and wrist cuffs,
breechcloth, metal arm bands, and holding a blanket over his arm;
silhouette of a man wearing a feather headdress, holding a feathered
lance, and sitting on a horse at sunset (“the sentinel”) (1907); man
painting the likeness of an animal on a teepee (postcard has “KFR”
printed on it); group of Crow men gathered inside a tent (c. 1905);
six Crow men, one smoking a pipe, sitting on the ground with a dog
and several tepees behind them (c. 1905); three women, a man, and a
dog standing near a Crow sweat lodge (c. 1905) |
| 8/2 |
Indians,
unidentified – portrait of a Crow woman wearing an elk
tooth dress; portrait of a Crow woman wearing an elk tooth dress and
scarf; portrait of a young Crow woman wearing a dress and shawl; two
women, one wearing an elk tooth dress, sitting on blankets inside a
teepee; group of women wearing blankets and sitting around a
campfire (one is roasting meat over the fire); two women wearing elk
tooth dresses and sitting on horses with decorated tack; group of
women wearing blankets (with backs to the camera) and a dog walking
toward wagons and a teepee; four Crow women holding hatchets seated
on the ground around a blanket filled with berries. |
| 8/3 |
Indians,
unidentified – two Crow women on horseback riding near
the woods with a small dog (c. 1906); three men and dogs walking
among a group of Crow women seated on the ground (“Crow women
getting rations”); group of men and women (with backs to the camera)
riding on horses; three Crow women (wearing blankets) standing
outdoors, one holding an infant and one with an infant on her back;
young Crow boy sitting on a horse (with a rifle attached to the
saddle) and holding a dead duck (c. 1906); portrait of a young
Cheyenne Indian boy wearing a feather headdress and breastplate and
holding a staff (one image is tinted) (postcard has “KFR” printed on
it); young Crow girl holding a doll, both wearing elk tooth
dresses. |
| 8/4 |
Indians,
unidentified – child with scarf-covered face standing
before a group of girls and boys seated on the ground (“children
from Reno District”); three rows of boys wearing uniforms and
holding caps standing on the steps of a stone building (a large elk
antler hangs from the building); a group of Crow girls (wearing
dresses and pinafores) and boys (wearing jackets) making baskets in
front of a dorm building (cyanotype); Crow girls wearing long
dresses and standing in front of a dorm building (cyanotype); three
rows of Crow girls (wearing dresses and mortarboards) posed outdoors
near blooming trees with a man standing behind them; two women on
the bank of a river watching a group of Crow girls swim. |
| 8/5 |
Indians,
unidentified – three women walking in front of three
horses going toward a row of trees (“going to water”); Crow man on
horseback standing in a river with a small herd of horses (“horses
with Crow wrangler on Little Big Horn River”); Crow man and boy
standing with horses near a haystack and wagon; man on horse-drawn
equipment in a field (“Door cutting oats”); two men (one behind the
plow and one on horseback) and a six-horse team plowing a long
furrow (possibly working on a ditch for the Crow Agency Irrigation
Project) |
| 8/6 |
Indian
burials – Crow burial scaffold holding a tarp-covered
coffin and a bucket with a metal bed beneath the scaffold; Crow
burial scaffold holding a tarp-covered coffin (one postcard has
“KFR” printed on it); small teepee-like structure inside a wooden
fence (“Takes the Wrinkle (Indian) grave”) |
| 8/7 |
Indian
camps – man, three women, and a child in front of two
teepees and a wagon; two children walking toward a tent camp,
wagons, and horses; Crow woman wearing a blanket and headscarf
walking between two teepees; person wearing a blanket and holding a
stick walking toward a teepee; teepee with a star painted on it and
other teepees in the distance (“Chief Plenty Coos tent”); a Crow
teepee and wagon in the trees; teepee among trees on the bank of a
river with other teepees in the distance (this photograph appears in
The Vanishing Race which credits it to Joseph K. Dixon and has the
caption “A leaf from the Indian’s book”); a teepee (painted with
animal likenesses) in snow near a tent and wagon; horse grazing near
teepee poles and wagons (“putting up camp during fair”); teepee camp
with horses, wagons and a small corral; tents and teepees at Crow
Agency camp during fair (“4,000 Indians”) (October 1907); tent and
teepee camp with a tree branch and flag attached to a fence
post. |
| 9/1 |
Indian
camps – teepee camp with reflections on the river (“home
of River Crow”); horses grazing near teepee camp and hillside (“home
of Mountain Crow”); dog and woman seated by a cook fire near two
teepees; people, wagons, teepees, and tents in snow (“village in
winter”) |
| 9/2 |
Indian
events – group of men and a boy gathered in a circle
around other men seated on the ground; men on horseback and women
and a young girl standing near piles of blankets on the ground;
large decorated staff (with hook at top) is displayed near teepees
and a group of people (“Scalp dance, coup stick, Crow Agency”); six
men (possibly including Bull Don’t Fall Down and Long Otter) on
horseback with spectators behind them (“Old Timers Parading”); large
groups on horseback riding through teepee camp at Crow Agency
(“parade, Crow Fair”); two men and three young girls on horseback
near teepees (“waiting for parade”); group of men (wearing feather
headdresses and holding feathered lances) sitting on horses near a
teepee camp (“ready for parade”); large group scattered among trees
playing shinny (a game similar to field hockey); men and women with
sticks playing shinny near a horse-drawn wagon and dog; five men
(one holding a drum) and a young boy standing outside (postcard has
“Indian musicians” and “KFR” printed on it, but it is a Throssel
photograph entitled “male dancers”) |
| 9/3 |
Indian
events – fenced garden with branches, a flag, a dog, and
a fire pit (men on horseback are outside the fence) (“after the
tobacco planting”); group of men (including Medicine Crow), women,
and girls sitting next to a field planted with a crop (“in the
tobacco fields”); men working in a garden (“tobacco dance”); three
men (including Boy In the Water and Fire Bear who are holding
rattles, and Big Medicine who is wearing a long fur coat) standing
with other men (one with a drum) and women in a garden area
(“tobacco dance”); line of women (wearing blankets), some carrying
bundles on their backs and walking toward a teepee camp (“Crow
Tobacco Society ceremony”) |
| 9/4 |
Indians
miscellaneous – exhibits of vegetables and handiwork at
the 1909 Crow Fair; exhibit with a small teepee and sweat lodge done
by the Black Lodge District for the 1909 Crow Fair; exhibit of
vegetables, baskets, and other handiwork done by the Crow Agency
School for the Crow Fair (1909); barn and fence with geese and
turkeys on the farm of Louis Bompard in Black Lodge
District. |
| 9/5 |
Crow Reservation
facilities – house, fence, boardwalk, and tree swing at
“Agent’s home”; long wooden structure with wagon wheels leaning on
the walls (“carpenter shop and blacksmith shop”); wooden building
with a bed on a screened porch (“first Crow Indian hospital”); large
two-story building with porch (“hotel”; possibly the Server Hotel);
row of wooden buildings inside a picket fence (“police quarters”);
long wooden structure with equipment on the porch
(“warehouse”) |
| 9/6 |
Crow Reservation
Church / Mission – large group, including boys and girls
wearing uniforms, men, women, and Catholic priests and nuns,
gathered in front of a church building and a bell tower (“church at
Catholic Mission”); buildings in the distance, including the
Catholic Mission; priest standing in the doorway of a log building
(“first building on Catholic grounds”) |
| 9/7 |
Crow Reservation
houses / cabins – two men (one wearing a vest with a
badge) and a woman standing in front of a log building with a wagon
nearby (“Medicine Top house on Big Horn”); Crow man standing near
horses, wagon, tent, and log building with a buggy in the yard; log
building with two chimneys near a barn and haystacks inside a rail
fence (“Crow Indian home”); two-story log building (with a stone
chimney) inside a fence near a windmill; brick building with porch,
fence, and garden (“agency cottage, Small’s house”); wooden
buildings and picket fence (“White’s house”; Mr. White was in charge
of the barn) |
| 10/1 |
Crow Reservation
Irrigation Project – man sitting on top of a wooden
irrigation gate; irrigation gate with water valves; stone irrigation
head gate on Bighorn River; irrigation gate on river with buildings
at Crow Agency in the distance. |
| 10/2 |
Crow Reservation
flour mill – two-story building with loading dock and
chimney (“Pryor Mill”); three adjoining buildings with a man
standing in a doorway and a wagon loaded with large sacks on a
loading ramp (“government mill and engine room”); interior of mill
building with engines (“first floor of mill”); equipment inside the
mill (“2nd floor of mill”) |
| 10/3 |
Crow Reservation
school buildings – men painting exterior of two-story
building with scaffolding set up (“school house”); two-story stone
building, adjoining a one-story wooden building, and bell tower
(“back of boy’s building”); room interior with windows and three
rows of metal cots (“boy’s dorm, Crow Agency”); room interior with
metal cots along the walls, a wash basin, and wood-burning stove
(“dormitory, Catholic Mission, Big Horn District”) |
| 10/4 |
Crow Reservation
school buildings – two-story brick buildings with porch
(“girl’s building, mother’s rooms”); two-story brick building and
adjoining wooden building (“back of girl’s building”); room interior
with windows, wood stove, and tables set with tablecloths and dishes
(“dining room, girl’s building”); three women (including Katie White
[aka Marie Rides The Horse] and Sarah McAllister) wearing aprons and
standing near a cook stove, cupboards, and long wooden table
(“kitchen”) |
| 10/5 |
Crow Reservation
scenery – views of the Crow Agency valley; man on
horseback on the bank of the Little Bighorn River; group of horses
near trees ( “along the Little Big Horn”); view of valley with
buildings and hills in the distance (“Pryor School in the
distance”); trail going through the trees (“entrance to Pryor
Canyon”); herd of horses grazing on a hillside. |
| 10/6 |
Miscellaneous – portrait of an infant girl wearing a
white dress sitting on the floor eating a cookie; portrait of two
young children (both wearing short pants) standing together holding
hands; bison cow and calf standing together. |
Subseries 35: William H.
Tippet (1880 - ) / Tippet’s
Studio
W.H. Tippet was born in Canada and moved to the U.S. in 1896. He lived in
Bozeman, Montana, for a time and then relocated to Missoula where he
partnered with Isaac G. Grant in the Grant and Tippet Studio during the
years 1902-1903. In 1903, Tippet moved to Billings where he operated
Tippet’s Studio until 1930.
|
|
| Box/Folder | |
| 10/7 |
Indians –
portrait of a man, wearing a decorated vest and holding a blanket
and beaded pouch, standing next to a woman who is seated and wearing
a dress, blanket, scarf, and long belt. |
Subseries 36: Towner and Runsten,
Photographers
Towner and Runsten operated a studio at Mandan, Dakota Territory.
|
|
| Box/Folder | |
| 10/8 |
Indians –
portrait of three young girls (two seated, one standing behind)
wearing blankets over their dresses (“Reservation Indians”)
(1885) |
Subseries 37: Western Photo
Shop
The Western Photo Shop was in Billings, Montana. At one time the
proprietor was R. Garrett.
|
|
| Box/Folder | |
| 10/9 | Indians – Max Big Man, a Crow man,
(wearing fringed pants and shirt and a feather headdress) standing
among grave markers and pointing to the distance at Little Bighorn
Battlefield; large gathering of men (wearing fringed shirts and
feather bustles and facing away from the camera) seated on benches
surrounding an open area with other men, horses, and teepees across
from them. |
Subseries 38: Willem (William)
Wildschut (1883-1955)
W. Wildschut was born in Holland and relocated several times to manage
various factories. In 1918 he was transferred to Billings, Montana,
where he worked in the banking and real estate business. He became
interested in ethnology, and began visiting and photographing the Crow
Indians in the area and purchasing items from them. Wildschut sold a
collection of medicine bundles to George Gustav Heye for the Museum of
the American Indian in 1922, and then was hired to continue collecting
for the museum. During the years 1922-1928, he conducted field
expeditions in Montana, Wyoming, Idaho, Canada, and North Dakota, for
the Foundation. He also wrote books on Crow beadwork, medicine bundles,
tribal culture, and Two Leggings, a Crow chief. Wildschut moved to
California in 1929.
|
|
| Box/Folder | |
| 10/10 | Indians, identified – Arm Round His
Neck, an older Crow man (wearing a blanket capote and brimmed hat,
and holding a feathered lance), sitting on a horse with a tent camp
in the distance; portrait of Chief Bell Rock, an older Crow man,
standing outside wearing a feather headdress, holding a feather fan,
with a whistle in his mouth; Chief Bell Rock standing next to a
horse; Chief Bird All Over the Ground, a Crow man, standing outdoors
wearing a full-length feather headdress, a shirt decorated with
ermine pelts, and beaded gloves; Chief Bird All Over the Ground and
his daughter Birdie (wearing an elk tooth dress) standing next to
his two granddaughters, Mary and Elizabeth, who are sitting on a
blanket; Birdie, Mary, and Elizabeth (family of Bird All Over the
Ground), sitting outdoors (“the story hour”); Bird Horse and his
wife on horseback on the bank of a river. |
| 10/11 | Indians, identified – portraits of
Chief Holds the Enemy, a Crow man, (wearing a feather headdress and
holding a beaded pouch and tomahawk) standing next to a teepee;
Clarence Old Horn and Fred Old Horn, Crow men, standing outdoors
wearing brimmed hats and beaded vests, and holding blankets over
their arms; Other Bull, Old Horn, Old Coyote (each holding a rifle),
Old Jack Rabbit, and Two Leggings sitting on horseback near a grove
of trees (“survivors of the last Crow war party of 1888”); portraits
of Chief Plenty Coups standing outdoors (wearing a shirt decorated
with ermine pelts, a feather headdress, and gloves) and holding a
lance; Chief Plenty Coups on horseback holding a lance and a
blanket; Chief Plenty Coups (holding a lance and blanket) and his
daughter (wearing an elk tooth dress) standing outdoors; young girl,
daughter of Plenty Coups, standing outdoors wearing an elk tooth
dress and long belt. |
| 10/12 |
Indians,
identified – Bell Rock, Plenty Coos (holding a flag), and
Holds the Enemy, wearing feather headdresses and sitting on horses
near teepees; portrait of Shot in the Hand, an older Crow man,
standing outdoors (wearing a shirt decorated with ermine pelts, a
feather headdress, and beaded gloves) and holding a beaded pouch;
portrait of Chief Two Leggings, an older Crow man, standing outdoors
wearing a feather headdress; Chief Two Leggings (wearing a shirt
decorated with ermine pelts and a feather headdress) holding a lance
and standing next to a horse; Two Leggings sitting on the ground
near a log, blankets, and a hide, putting a feather in his hair
(“demonstrating making of a medicine bundle”) |
| 11/1 |
Indians,
unidentified – man wearing a scarf and ornament in his
hair sitting on a white horse near a row of automobiles; woman
standing in front of a teepee holding two infants in her arms (“two
of a kind”); young Crow girl wearing an elk tooth dress sitting on a
white horse near a tent and wagons; eight Crow men wearing feather
headdresses and standing by horses (“Crow Indian chiefs”); group of
Crow men and one boy seated on the ground near a grove of trees (“a
Crow council”) |
| 11/2 |
Indian
events – group of Crow women and men (including Plenty
Coups, Two Leggings, and Bird All Over the Ground) sitting on a
wooden boardwalk during the Billings fair; group of Crow men dancing
near a two-story building; Crow men and women on horseback riding in
a parade at the Billings fair with spectators along a fence behind
them; two Crow women holding lances and a shield on horseback in
front of a two-story building (“Crows on parade”); Crow men on
horseback, two with flags (“Crow Indian parade”); Crow men, women,
and children on horseback in a line going through trees (“Crow
Indian parade”); men on horseback during 45th anniversary of the
Custer Battle (“during the fight” and “the attack of the Indians”)
(July 1921) |
| 11/3 |
Indian
camps – young boy walking on road near teepee and tent
camp (“Crow Indians at Pryor”); two boys sitting next to a teepee at
Pryor; man on horse near teepees (“teepee street Crow Indian
Reservation”); teepee camp on the bank of a river (“on the Little
Horn”) |
Subseries 39: Joseph
Young-Hunter (1874-1955)
Young-Hunter was born in Scotland and studied art under John Singer
Sargent at the Royal Academy in London. He was known for painting
portraits of wealthy Brits and Americans. Young-Hunter was interested in
American Indians after attending Buffalo Bill’s Wild West Show in London
as a child. In 1912, he met Charles M. Russell and the following year he
moved to the U.S. and visited the Crow Agency in Montana. He moved to
Taos, New Mexico, in 1942 and operated a studio there until his death.
This subseries includes oversize photographs that Bud Lake purchased in
2000 from Woodrow Wilson Fine Arts, Incorporated, located in Santa Fe. A
brochure entitled “The Shadow Catcher,” indicates that Hunter-Young
owned the negatives for several Native American images that were most
likely taken during the Wanamaker Expedition in 1913 (see Joseph K.
Dixon above). The photographs Bud Lake purchased were made from the
original nitrate negatives and offered in a limited edition. Each photo
is certified and numbered. Woodrow Wilson Fine Arts assumed that
Young-Hunter was the photographer.
|
|
| oversized | |
| M-15 |
Indians –
woman (wearing an elk tooth dress and headscarf) holding a lance and
shield and sitting on a horse with decorated tack near other women
on horseback and a tent. |
| M-16 |
Indians –
man (holding a rifle and wearing a brimmed hat) standing in front of
a group of women and two men on horseback (one holding a rifle and
one holding a stick with a flag or bundle) near a tent
camp. |
| M-17 |
Indians –
men (some wearing feather headdresses and holding feathered lances)
on horseback riding across a river |
| M-18 |
Indians –
five men on horseback crossing a river with buildings on the bank
behind them. |
| M-19 |
Indians –
two men wearing feather headdresses and shirts decorated with ermine
pelts (one holding a feathered lance) standing together
outdoors. |
| M-20 |
Indians –
portrait of a man wearing a headdress with a horn and holding a
feathered lance standing in front of a teepee. |
| M-21 |
Indians –
group of men (wearing feather headdresses) standing at the entrance
to a teepee, some with drums and some holding sticks. |
| M-22 |
Indians –
three women (two wearing elk tooth dresses and holding a lance and
shield) and a man sitting on horses next to a horse-drawn buggy with
another buggy, tents, and other horses behind them. |
Series II: Unidentified PhotographersReturn to Top
The Lake/Brewer Collection includes photographs for which the photographer is not identified. These are arranged in eight subseries by the subject of the photograph. Subjects include Indian men, women, and children, some identified and some unknown; Indians in a series of numbered photographs that appear related by format and content; Indian ceremonies including Plenty Coups at the National Cemetery in Washington, D.C. (1921) and the induction of Marshal Ferdinand Foch into the Crow Tribe (1921); Indian activities and events such as Crow Fair, parades, and dancing; Indian teepee and tent camps; miscellaneous Indian photographs; Little Bighorn Battlefield and Custer Monument, including the 20th (1896) and 50th (1926) anniversary celebrations; and miscellaneous photographs. In a few cases, the name of a news agency is stamped on the back of a photograph taken for a newspaper or other publication and this information is provided in the descriptions below.
| Container(s) | Description |
|---|---|
Subseries 1: Indians
This subseries includes formal portraits and informal photographs of
Indian men, women, and children, primarily members of the Crow Tribe.
The first folders include photographs of individuals who are identified.
Other folders contain images with people whose identity is unknown.
Included in this subseries are photographs of Indian dress, homes, and
culture.
|
|
| Box/Folder | |
| 11/4 |
Indians,
identified – Gertrude Big Day and ? Crooked Arm, Crow
Indian girls, wearing elk tooth dresses and standing in front of a
log building; portrait of Max Big Man, a Crow, standing outdoors
wearing a feather headdress and holding a shield; Max Big Man
wearing a decorated vest and wrist cuffs standing in front of a log
building; the family of Max Big Man including two women (one is
Myrtle Big Man), four young girls, and two young boys, standing by a
teepee; Brave Bear, an elderly Cheyenne man, wearing a feather
headdress and holding a beaded pouch and large flag (“73 years old,
now living at Thomas, Oklahoma”); portrait of Chief Bread, a Crow
man, wearing a feather headdress and holding a feather fan; portrait
of Bull Ear, a Crow man, wearing a blanket cape and holding a stick
or rattle; Bull Nose, an elderly man, sitting on a horse in front of
a building; a young girl (wearing an elk tooth dress) sitting on a
chair with a young boy (wearing short pants) standing on the chair
next to her (“children of the Crooked Arm family, Crow
Agency”) |
| 11/5 |
Indians,
identified – Curly, a Crow man (wearing a jacket and
gloves, and holding a brimmed hat) standing next to a young man on
horseback; portrait of Curly wearing a full-length feather headdress
and holding a feathered shield (tinted); portrait of Curly wrapped
in a blanket standing near a teepee; Dawn Little Light, a young man,
wearing a brimmed hat and sitting on horseback near buildings and a
power line at Hardin; Donald Deer Nose, a Crow man, sitting outdoors
as Norman Pringle applies makeup and Mary P. Smith adjusts a wig for
the Paramount movie “Warpath” (September 1951); portrait of
Grasshopper, a young man, wearing a feather headdress and standing
near a teepee; portrait of Iron Bull, a Crow man (wearing a shirt
decorated with ermine pelts) sitting next to his wife who wears an
elk tooth dress and blanket (c. 1873); Chief Iron Horse and a
non-native man (possibly Jay Raulins) standing on a porch, both
wearing feather headdresses (1915); portrait of Little Feather, a
young boy of the Washoe Tribe, wearing a feather headdress and
necklace; portrait of Mrs. Long Tail (wearing an elk tooth dress and
blanket) standing outdoors near trees and a road. |
| 11/6 |
Indians,
identified – portrait of four men, two seated and two
standing behind (“three sons of Major McLeaughlin and Wolf King,
their uncle”; one man is identified as Bull Ear in a photo described
above); portrait of Mary One Goose, an elderly woman (wearing a
dress and belt), standing outdoors with children, a hammock, and a
teepee behind her; portrait of Frank Other Medicine and Vic Three
Irons, two young men wearing suits and bow ties (signature of Victor
Three Irons is on the back); Chief Plenty Coups holding a feathered
lance and riding a horse at Pryor Agency (July 4, 1909); Chief
Plenty Coups and Buffalo Bill Cody presenting a rifle to the Prince
of Monaco (probably Louis II, Louis Honore Charles Antoine Grimaldi)
with men on horseback and a stone building behind them; Chief Plenty
Coups and his son (identified by Bud Lake as Wet) (wearing feather
headdresses and holding feathered lances) sitting on horseback with
teepees and a wagon behind them; Chief Plenty Coups holding a
megaphone on the set of the Pathe movie “The Devil Horse” and
directing Fred Jackman, Gladys McConnell, and Roy Clements as other
Crow men, including White Man Runs Him, observe (1926); portrait of
a young man, possibly Sharp Horn; portrait of Shot in the Hand, an
elderly Crow man (“over one-hundred years old”); Charles “Smoky”
Wilson, an African American adopted into the Crow Tribe, standing
outdoors with a young girl in front of a building. |
| 11/7 |
Indians,
identified – five women, including Kate Yarlott Stewart,
Mary Slone (?), Elva Carls Williamson, Henrietta Crockett, and Mrs.
Joseph Lyndon Smith (national representative from League of Women
Voters) grouped together in a living room; Kate Stewart, wearing a
shawl and headscarf, standing in front of a building; portrait of
Takes Them Both, an elderly Crow woman, standing outdoors and
holding a bundle or pillow; man and woman (“Mr. and Mrs. Turns
Back”) standing in front of a teepee; portrait of Two Leggings, a
Crow man, sitting in front of a U.S. flag, wearing a feather
headdress and holding a lance; Chief White Arm standing outdoors by
a horse near a tent (“Basin, Wyo.”); White Blanket, an older man
(wearing native regalia) sitting on a horse with decorated tack near
other people on horseback (c. 1924); portrait of White Man Runs Him,
an elderly Crow man, wearing a feather headdress and holding a
feather fan (1906); young man standing behind a line of young girls
(wearing dresses and sashes) holding raised hands on a lawn with
blooming trees and buildings (identification on back of photo: Mrs.
Ada Sees With Ears-Hill, Mrs. Susan B. Gardiner, Mrs. Bertha Full
Mouth-Bear All Time, Miss Grace Buffalo-Iron Head, Edith Medicine
Bear, Blanche Brown-One Blue Bead, Mrs. Kate Yarlott Stewart, Hazel
One Goose-Cummings, Tillie Whiteman-Pease, Ruth Yellow
Herd-Morrison) |
| 11/8 |
Indians,
unidentified – portrait of a man wearing a fabric shirt
and gloves decorated with eagles; portrait of a man wearing a
headdress decorated with animal skin, ermine pelts, and feathers
(caption “Crow chief, Butte, Mont.”); man (wearing a long feather
headdress and holding a stick or club) riding a horse (“Indian chief
in war bonnet”); five men (wearing feather headdresses and holding
lances) and a woman on horseback (“Crow Indians in war bonnets,
Hardin”); man wearing a feather headdress riding a horse and holding
a flag (possibly the flag of Plenty Coups) near teepees; man
(wearing a feather headdress and holding a tomahawk) sitting on a
horse (decorated with an animal pelt) standing in front of a teepee
made of striped cloth (“Indian chief”); two Crow men on horseback
holding shields and lances; portrait of three young men wearing
vests, neckerchiefs, decorated gloves, and brimmed hats
(“Livingston, Mont.”); man standing outdoors wearing a vest and
neckerchief and holding a brimmed hat; man (same as in preceding
photo) and woman (wearing a shawl) standing in front of a log
building; three men (wearing hats made of fur and feathers) and two
young boys on horseback near teepees (some are shielding their faces
from the camera) |
| 11/9 |
Indians,
unidentified – four men (wearing feather headdresses and
holding feathered lances) standing outdoors; portrait of four young
men (wearing fabric shirts and metal arm bands), two seated (holding
a stick and pouch), one squatting, and one standing; four men
wearing traditional regalia (one with a horned headdress) and
sitting on hides in front of a teepee; group of men wearing feather
and horn headdresses standing together in the bushes; group of men
(one with a drum or shield) and women standing near a railing and
monument for Plenty Coups Peak (located on the eastern border of
Yellowstone Park in Park County, Wyoming) (c. 1940); five men (one
possibly White Man Runs Him) sitting on horseback in front of a
building (possibly the old Crow Agency building) with a non-native
man standing between the horses (“Wraps Up His Head, the medicine
man who incited to the war of 1887, Bad-Indians” [related to the
Sword Bearer uprising]) (1887); seven men on horseback and two women
standing by a horse in the sagebrush (“prisoners after the fight of
November 1887” [related to the Sword Bearer uprising]) (1887); three
men, two on horseback, in front of a tall building with a sign
reading ‘Cudahy’ (written on back “Bellange 1907”); two men standing
by an automobile and horse-drawn equipment with three non-natives
(man and two women); a man wearing a feather headdress and decorated
vest standing on a porch next to a non-native woman sitting in a
rocking chair; six men (four non-native), some wearing native
regalia, standing together. |
| 11/10 |
Indians,
unidentified – two men (wearing feather headdresses)
standing by a creek near a camera (on a tripod) and a Kodak film
box, and holding up a strip of film, with teepees on the other side
of the creek; man (holding a brimmed hat) and young girl standing at
the entrance to a tent; man (wearing a brimmed hat) and young girl
(wearing an elk tooth dress) standing at the entrance to a teepee
(“probably Lodge Grass”); two women (wearing elk tooth dresses and
shawls) standing by a wagon with a grandstand behind them; portrait
of a young girl wearing an elk tooth dress; woman (wearing an elk
tooth dress with a decorated pouch) standing in front of a teepee;
two women, one sewing, sitting in front of a teepee with a blanket
and hide hanging near the entrance (“Crows in camp at beadwork”);
Crow women, one with a child on her back, at Yellowstone National
Park; two women wearing blankets, each carrying a young child on
their back and standing in front of a building (“the usual manner of
carrying the child”; on reverse standing at the same building is a
man wearing pants and coat decorated with birds and flowers); woman
setting up teepee poles as another woman, a man, and dogs watch
(“Ute [woman] setting tepee”); two woman sitting on the ground
beneath meat drying on racks. |
| 11/11 |
Indians,
unidentified – man, woman, and horse with decorated tack
standing outdoors with a non-native man wearing a cap; portrait of
an older man (wearing a skin shirt and feathers in his hair) and
woman (wearing a cloth dress and belt); older man (wearing a feather
headdress and holding a U.S. flag) and woman (with a blanket over
her arm) standing outdoors in the snow (“two real 100% Americans –
Hardin, Mont.”); woman wearing a blanket, holding a child, and
standing next to two young girls near several tents; woman holding a
cat and standing near a teepee and behind a horse that carries two
young girls wearing blankets; three young girls wearing elk tooth
dresses standing by a teepee; a young boy (wearing a decorated vest
and gloves and brimmed hat) standing outdoors and holding the hand
of a young girl (wearing an elk tooth dress and decorated pouch)
(“two Crow Indian children, in Montana”); same children as in
previous photo wearing fabric shirt, pants and dress; young girl
(wearing an elk tooth dress and headscarf) sitting on a horse
decorated with an animal pelt and standing in front of a teepee and
tent; portrait of four young girls wearing dresses decorated with
beads and fringe; very young girl sitting on a horse with decorated
tack and standing near a teepee; three children, two with short hair
(one holding a drum) and one with braids, sitting on the ground near
a teepee. |
| 11/12 |
Indians,
unidentified – nine girls wearing dresses standing in
front of a two-story brick building (“girl’s school, Crow Agency”;
“C.G. Slack and Co., Soo Falls” is printed on the postcard); group
of men, women, boys, and girls gathered around the steps of the
Unitarian Mission (aka Bond Mission School and Montana Industrial
School for Indians) near Custer (c. 1890); family standing outdoors
including a man, two women (wearing blankets and headscarves), and
three young children (one wearing overalls); portrait of a family
including two men (one wearing a brimmed hat), two women, and a
young girl seated together (“Crow Indians”) (photomechanical
postcards of this image are printed with “The Willson Co., Bozeman“
[a dry goods store owned by Lester Willson] and with “Holmes &
Warren, Billings” [possibly Warren Drug Company, owned by Lee
Warren, that sold photographic supplies, first in Bozeman,
1902-1907, and then in Billings]); large group (with backs to
camera) standing in a line looking at a building with a U.S. flag
flying from a pole (“flag raising at school house, Lodge Grass”);
people, horses, wagons, and buildings, possibly at Crow Reservation;
person (wearing a headscarf) sitting on a horse near wagons and
other horses; women and horses near a fire pit and bushes (“Crow
women packing”); man (wearing suitcoat and brimmed hat), woman
(facing away from the camera with a bundle on her back), and three
children standing near suitcases between a stream and a passenger
train (“Indians, Crow Agency, Wyo., July 10, 1915”); women, horses
and dogs at a building at Crow Indian Agency (“Crow Indians getting
food and clothing”); woman, young girls, mule, and man driving a
horse-drawn wagon near a building and corral (“slaughter house, Crow
Agency”) |
| FR -1 |
Indians,
unidentified – portrait of a two-spirit (berdache)
wearing a dress, belt, and blanket around the waist (printed
directly on opal glass) (identified by Bud Lake as a Crow; possibly
an O.S. Goff photograph) |
Subseries 2: Indians, numbered
series
This subseries contains photographs of Indians that appear to be from a
specific series having an identical format, similar numbering, and the
same individuals and settings. Though the origin of these photographs is
unknown, the images have been kept together. Most of the individuals in
these photographs are unidentified.
|
|
| Box/Folder | |
| 11/13 |
Indians, numbered
series – four men (one non-native) seated in front of a
teepee painted with a horse and bison (identified as Curly, Medicine
Crow, and White Man Runs Him [wearing a brimmed hat with a
feather]); three men (Medicine Crow, White Man Runs Him, and Curly)
standing outside wearing feather headdresses and shirts decorated
with ermine pelts; six men (one non-native) sitting on the ground
inside a teepee (group includes, Medicine Crow, Bull Tongue, and
White Man Runs Him); man wearing a decorated vest and gloves,
holding a blanket and standing on a cliff near a snow-covered hill;
three men kneeling on the ground wearing jackets and headscarves
with one smoking a pipe; man wearing a jacket, headscarf, quiver,
and knife sheath, sitting on a horse; man wearing a jacket and
brimmed hat sitting on a horse; man wearing a feather headdress and
holding a feathered stick; man, wearing a feather headdress and
bead-decorated gloves, sitting on a horse. |
| 12/1 |
Indians, numbered
series – five men wearing blanket capotes and sitting on
horses standing in the snow; four men wearing blankets and feather
headdresses standing together near teepees; seven men, one pointing
toward the distance, sitting on horses near rocky cliffs; two men
lying on their stomachs on the ground, one pointing toward the
distance; two men wearing blankets using willow branches to build
the frame for a sweat lodge; four men seated on the ground near a
sweat lodge as two men are coming out of the lodge; man wearing a
breechcloth and walking across a stream; man sitting on the ground
(holding a pipe) and a woman standing next to him, near two teepees;
two women standing outdoors wearing elk tooth dresses, neck scarves,
belts, and decorated pouches; man (wearing a suit and tie) and woman
(wearing an elk took dress and blanket) sitting on the ground near a
teepee with a small boy (wearing a shirt and scarves around his head
and waist) standing between them; nine young women wearing blankets
standing outdoors in a group with two non-native women and young
boy; man wearing feather headdress and sitting on a horse talking to
men in a review stand; in the distance, a valley and teepee camp
near rocky hills. |
Subseries 3: Indian
ceremonies
In November 1921, Chief Plenty Coups traveled to Washington, D.C., to
represent the Crow Tribe and other American Indians at burial ceremonies
for the unknown soldier at Arlington Cemetery on Veterans Day. During
the visit, Plenty Coups, his interpreter John Frost, and other tribal
leaders, met with President Warren G. Harding and U.S. Indian
Commissioner Charles H. Burke. Plenty Coups presented a war bonnet and
coup stick at the cemetery ceremony. Also in November 1921, the Crows
hosted a ceremony inducting Marshal Ferdinand Foch, Commander and Chief
of the Allied Armies during World War I, into the tribe.
|
|
| Box/Folder | |
| 12/2 |
Plenty Coups in
Washington, D.C. – Chief Plenty Coups and other Indian men wearing
ceremonial dress (John Frost [interpreter], Stranger Horse, Amos Red
Owl, and Clement Whirlwind Soldier) standing on the White House lawn
with President Warren G. Harding and Commissioner of Indian Affairs
Charles H. Burke for ceremony honoring unknown soldiers (November
1921) (photo credited to Harris & Ewing); portrait of Plenty
Coups wearing headdress and holding coups stick to be presented at
unknown soldier memorial (photo credited to International News
Service); portrait of Plenty Coups wearing feather headdress (photo
credited to ? and Herbert News Service) |
| oversized | |
| M-23 |
Plenty Coups in
Washington D.C. – Chief Plenty Coups, John Frost,
Stranger Horse, Amos Red Owl, and Clement Whirlwind Soldier standing
on the White House lawn with President Warren G. Harding and
Commissioner of Indian Affairs Charles H. Burke (November 1921)
(photo credited to Schutz) |
| Box/Folder | |
| 12/3 |
Marshall Ferdinand
Foch induction, November 28, 1921, Crow Agency – crowd
watching as Marshall Foch and Chief Plenty Coups greet each other;
Marshall Foch, Count du Chamber, and Mr. McNider; Two Leggings in
traditional regalis; men dancing as crowd watches. |
Subseries 4: Indian dances, fairs,
parades
The photographs in this subseries document Indian activities, including
the Sun Dance, parades, and Crow Fair (which was started in 1904). Crow
men, women, and children also participated in parades and roundups at
Crow Agency, Pryor, Lewistown, Hardin, and Miles City in Montana, and at
Sheridan and Buffalo in Wyoming.
|
|
| Box/Folder | |
| 12/4 |
Indian
dances – Plenty Arrows, a Crow man, standing outdoors
wearing a feather headdress and holding a lance (“in dancing costume
taken at Pryor Indian Agency autumn 1903”); men wearing breechcloths
and roach headdresses standing outdoors ( “in dancing costume at
Pryor Indian Agency autumn 1903”); children standing outdoors with a
non-native man and woman (“children of the Crow Tribe with teacher
and Englishman [laborer on railroad] taken at time of dance at
Pryor, autumn 1903”); group of men dancing outdoors wearing
traditional regalia; poles, trees, and fence at Sun Dance; men on
horseback and in wagons gathered together; two men, one sitting on a
burro; two men wearing decorated shirts and bells (one holding a
stick) and standing near an automobile (“Crow Indians ready to
dance, Hardin”); group of men dancing near trees with an automobile
and men on horseback behind them (“Crow Indians dancing,
Hardin”) |
| 12/5 |
Indian fairs and
parades – men (one holding a flag) lined up on horseback
near buildings (c. 1908); men kneeling around a drum as women watch
(“street fair scene, Lewiston, Mont.”) (c. 1909) (“Phillips Drug
Co.” is printed on the postcard); three men and a boy wearing
breechcloths and bells standing outdoors in front of wagons and a
tent (“Crow Fair, Hardin”) (c. 1914); men (identified as Sherman
Caudfield and Doc) and children riding in a decorated automobile in
a parade in Sheridan, Wyoming, in front of the O.K. Furniture &
Hardware building (July 1914); Crow men, women, and children on
horseback during Sheridan parade (July 1914); men on horseback and
spectators at fair in Billings (September 18, 1919); people standing
in lines at building (“Crow Fair refreshment booths”); women and
children on horseback in parade (“taken during the carnival”); men
and women on horseback during a parade (businesses in the photograph
include Volckmer’s Clothing Store and J.H. Vogel’s
Furnishings) |
| 12/6 |
Indian fairs and
parades – men kneeling around a drum as women and other
men (wearing feather headdresses and on horseback) observe (near a
teepee and automobile) (“Crow Indians, Crow Fair, at Crow Agency”)
(c. 1938); man wearing a feather headdress, holding a stick and
sitting on horseback (“Crow chief in charge of the Crow Agency”) (c.
1938); group of men standing in a line near trees (“Crow Indians at
Miles City roundup”); men (some holding flags) and a child on
horseback (“Crow Indian chiefs, Hardin”); men, women, and children
riding horses near tents and trees (caption “Crow Indian Fair near
HF Bar Ranch, Buffalo, Wyoming”); men on horseback riding in a line
(one wearing a breastplate and cap with feathers); two men and a
woman watch as T. Joe Cahill (Thomas Joseph Cahill) is inducted into
the Crow Indian Tribe at Sheridan, Wyoming (August 1954) |
Subseries 5: Indian
camps
Many photographs in the Lake/Brewer Collection are of teepees and teepee
camps. Included in this subseries are photographs of camps located at
Pryor Creek, Crow Agency, Lodge Grass, and the Little Bighorn River in
Montana, and at Sheridan in Wyoming.
|
|
| Box/Folder | |
| 12/7 |
Indian
camps – tents and teepees at Crow Indian camp at Pryor
Creek (August 17, 1899); teepees (one with a medicine bundle) and
shelter (“an Indian home”); men, wagons, and horses near teepees;
man and woman standing near three teepees (one decorated with an
eagle painting) (“three prize teepees”); two teepees (one with an
eagle decoration) at camp of Packs the Hat (c. 1936); teepees,
wagons, horses, and fence at Crow Agency camp (1900); woman at the
entrance to a teepee decorated with an elk painting at Crow Agency
(c. 1907); teepees and tents on the bank of the Little Bighorn River
(September 23, 1909); teepees (decorated with animal paintings) at
the Sheridan Stampede (July 1914) |
| 12/8 |
Indian
camps – teepees and wagons; two young boys standing near
a teepee, tent, and wagon (“Crow Indian teepee”); teepees in
silhouette; teepees, horses, and automobiles at a camp near trees
(“Crow Indian village”); two women setting up a teepee (written on
back “Sheridan, Wyo.”); row of teepees near trees; teepees, tents,
wagons, horses, and buildings at Crow Indian village at Lodge Grass
(c. 1947); teepee poles and buildings in snow (written on back
“Christmas 47 Ranch”) |
Subseries 6: Indians,
miscellaneous
This subseries includes miscellaneous Indian photographs taken by unknown
photographers.
|
|
| Box/Folder | |
| 12/9 |
Indians
miscellaneous – wooden coffin on scaffold constructed
under a tree holding another coffin; Crow Agency street scene with a
teepee and automobiles; Crow Indian Baptist Mission (operated by the
American Baptist Home Mission Society) at Crow Agency; collage with
A. C. Stohr standing outside holding a rifle, man on a horse in
front of the A.C. Stohr Indian Trader store at Lame Deer, and group
of Cheyenne men (some on horseback) from Elk Lodge; collage with
Playing Bear and three small children, a woman near a teepee and
meat drying rack, William Iron Hand on horseback, and Strong Left
Hand and Fannie Stohr with a horse and travois. |
Subseries 7: Little Bighorn
Battlefield
The Little Bighorn Battlefield is located on the Crow Reservation near
Hardin, Montana. In this subseries there are photographs taken at the
20th Anniversary celebration of the battle in 1896. Those photographs
having the same format, and therefore probably the same photographer,
have been kept together. Several photos appear to have been removed from
a scrapbook. In addition, there is one photograph from the 50th
Anniversary celebration held in 1926.
|
|
| Box/Folder | |
| 12/10 |
Little Bighorn
Battlefield, c. 1896 – women on horseback; teepees;
people gathered around a teepee and flag pole; people watching an
event; non-native men and women with horse-drawn carriage; women
carrying bundles and walking with dogs toward teepees; women wearing
blankets standing behind a fence; man standing with grave
markers. |
| 12/11 |
Little Bighorn
Battlefield, from a scrapbook, possibly taken at 1896
anniversary – woman and girl near a teepee and woodpile;
four men wearing brimmed hats and sitting on horseback; woman
holding an infant near buildings; man, woman, and children riding in
a horse-drawn buggy; man wearing a brimmed hat and neckerchief and
sitting on horseback; women (one covered with a blanket) at a water
hole; men on horseback; horses and wagon near a tent; man at tent
entrance near a horse (eating hay) and a meat drying rack; teepee
and fire pit; man with teepees; teepee and tent. |
| 12/12 |
Little Bighorn
Battlefield, from a scrapbook, possibly taken at 1896
anniversary – men, wearing traditional regalia, dancing
outdoors, individually and in groups; battlefield monument and grave
markers. |
| 12/13 |
Little Bighorn
Battlefield – people gathered around monument and grave
markers (“Fassbender” is printed on the postcard); battlefield
monument, fence, and grave markers; crowd gathered at battlefield
monument and grave markers; Crow men on horseback at “Custer
Battlefield 50th Anniversary” (1926) |
Subseries 8: Miscellaneous |
|
| Box/Folder | |
| 12/14 |
Miscellaneous – Eileen Harte sitting on a desk
displaying Plenty Coups’ war bonnet and saddle, Marshal Ferdinand
Foch’s headdress, and other items owned by Julius W. Butler (1930)
(taken by H.A. Atwell of Chicago); unidentified elderly man and
woman sitting outdoors in front of a building; three bison standing
on the plains. |
Names and SubjectsReturn to Top
Subject Terms
- Crow Indians--Montana
- Crow Fair Celebration
- Indian dance--Montana--Crow Indian Reservation
- Indians--Death and burial
- Indians--Rites and ceremonies
- Parades--Montana--Crow Indian Reservation
- Rodeos--Wyoming--Cody
- Tipis--Montana--Crow Indian Reservation
Personal Names
- Curly, approximately 1856-1923
- Plenty Coups, 1848-1932
- Two Leggings, approximately 1847-1923
- White Man Runs Him, approximately 1855-1925
- White Swan (Crow warrior), 1851 or 1852-1904
Geographical Names
- Beartooth Mountains (Mont. and Wyo.)
- Billings (Mont.)
- Broadview (Mont.)
- Cody (Wyo.)
- Crow Indian Reservation (Mont.)
- Custer National Cemetary (Mont.)
- Little Bighorn Battlefield (Mont.)
- Little Bighorn Battlefield National Monument (Mont.)
- Pryor (Mont.)
- Shelby (Mont.)
- Sheridan (Wyo.)
- Yellowstone National Park
Form or Genre Terms
- Photographs
Finding aid prepared by Sue Jackson
2017
This work is licensed under a Creative Commons Attribution 4.0 International License.
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