5.5 linear feet
The collection consists of correspondence, primarily between George T. Stevens and Harriet W. Stevens of Essex County, New York, as well as documents, writings, a scrapbook, printed materials, and realia reflecting the Civil War service of surgeon George T. Stevens of the 77th Regiment N.Y. Volunteers, Harriet W. Stevens' experiences on the home front, and George T. Stevens' post-Civil War medical career in Albany and New York City, New York.
The Correspondence Series is divided into two sub-series. The Chronological Correspondence Sub-Series spans from 1859 to 1866 with over 560 letters. While a few other correspondents are represented, the bulk of this series reflects both sides of the correspondence between George T. Stevens and Harriet ("Hattie") W. Stevens. Beginning with their courtship in 1859, the letters reflect George's early efforts to set up medical practice in Keeseville, New York, in 1861, his entry into the army, and their relationship and experiences throughout his service during the Civil War.
George's letters give a detailed glimpse into the practices of Civil War surgeons. Beginning with his efforts to secure an appointment as an Assistant Surgeon and the internal jockeying for position that caused infighting, George's letters to Hattie provide insight into the interpersonal conflicts and partnerships that undergirded his experience as an officer. Miscommunications about a medical furlough he took from May to October 1862 due to a case of typhoid fever led to his dismissal, and George's letters speak frankly about his efforts to reenlist as well as his frustrations with barriers to accomplishing this goal. Writing reports, securing transportation and goods, and tending to administrative details also pepper George's correspondence, shedding light on the clerical demands on his time.
George wrote frequently of daily life and tasks in camp, noting food, music and reading, camaraderie, mud, weather, camp health, and more. His detailed descriptions of camp life and activity also provide glimpses of others, including those who worked for him, like Dall Wadhams, who entered the army with him and stayed until March 1862, and James Mages, a young German-American, who worked for George from September 1863 to around June 1864 when he was taken prisoner of war.
George's commentary on camp life also at times reflects information about African Americans' experiences and white soldiers' opinions on race, slavery, and emancipation. Example references include:
George T. Stevens' letters also reflect on marching conditions, as well as details about setting up hospitals and tending to the sick and wounded. Letters describing battles reflect not only on military movements and engagements but also on the fieldwork undertaken by surgeons, amputations in particular, and the dangers to which they were exposed. He commented on medicine, transport of the wounded, illness, and death. For much of May 1864, he was stationed in Fredericksburg tending to soldiers wounded during the Overland Campaign, before returning to his regiment late in the month, and his letters reflect this work.
In addition to passing references to additional battles, the military engagements or their aftermath that George T. Stevens' letters reflect on include:
George and Harriet discussed their own health in good detail. George experienced a difficult bout of typhoid fever beginning in May 1862 and another illness in April 1864, which brought Harriet to tend to him during his recoveries. George and Harriet both commented on military and political events. Harriet was an avid reader of the news, tracking the 77th Regiment's movements and engagements. George commented several times that she was better informed than he was. "The rumors you have in regard to our moving are only the reports of the soldiers in camp who know as much of our future movements as they do of the next arctic expedition in search of Sir John Franklin," he wrote on January 24, 1862. Both were candid in their criticisms of military leaders.
As his regiment was periodically stationed near Washington, D.C., including for several months in late 1861 and early 1862, George's letters contain commentary about conditions in the city. Harriet's occasional trips to visit George in camp or to tend to him during bouts of illness also found her staying in D.C. She remained in the city hoping to visit George while the Battle of Gettysburg was being fought. Her letters during these times provide additional insight into how women and camp followers experienced D.C. and how residents responded to war news.
Harriet's letters written while she was staying with family at Wadham's Mills and Crown Point provide information about the home front. Discussions of finances, family news, anxiety for George's wellbeing, military events, health, music and reading, and more pepper her letters. As she and George wrote each other frequently, both sides of their conversation are often represented, showing the back-and-forth dialog that the couple sustained throughout the war. Notes written on envelopes by Harriet W. Stevens in later years identify letters that were of interest to her or provide clarifying information, hinting at George and Harriet's ongoing consultation of their wartime correspondence. George and Harriet's interest in botany is also well represented in the series. They discussed plants and sent each other pressed flowers and leaves.
Frances ("Frankie") Wadhams Davenport Ormsbee is also well reflected in the series. While she contributed only a small handful of letters, George T. and Harriet Stevens commented regularly on her and her husband George Davenport, beginning with a reference to their courtship in a letter from May 13, 1859. George T. Stevens discussed visits with George Davenport while they were both in active service, as well as with Frances while she was visiting him in camp. Letters referencing Frances, as well as George's own letters detailing his preparations for Harriet to visit him in camp, provide insight into officers' wives' experiences staying in the military encampments. Upon George Davenport's death at the Battle of the Wilderness, George T. Stevens wrote home with news he had about the nature of his death and burial, and corresponded with Harriet and Frances as they worked to recover his body and process their grief.
Several letters from other members of the Stevens and Wadhams families are also present. Additionally, as Wadham's Mills was located near the Canadian and Vermont borders, the series at times reflects on affairs in those regions. For example, Harriet W. Stevens' letter from December 19, 1861, states, "...the most prominent business men in Canada were drilling men three times a week. Frankie & I think that if we go to war with England, we shall just put on pants & go to." She also wrote of news regarding St. Albans Raid (October 20, 1864; October 23, 1864; October 30, 1864; November 2, 1864).
Correspondence from after George's service is far less frequent. It includes a letter from a former patient whose arm he saved during the war (February 19, 1865), a few letters from other members of the 77th Regiment, and material relating to the Stevens's move to Albany. One item written by James McKean on May 3-June 8, 1865, outlines reactions to news of the Civil War in Honduras, including references to an African American man and young indigenous Honduran boy.
George T. Stevens included sketches and drawings in some of his letters to Harriet. Letters that include pen-and-ink illustrations are listed below:
The Bundled Correspondence Sub-Series reflects the original bundling of these sub-sets of letters, with each then arranged chronologically. One bundle consists of nine letters and documents from ca. 1859-1860, as well as undated items, relating to Miss Slater's School for Young Ladies in Lansingburgh, New York. The other bundle includes six letters from 1868 relating to resolving an incident when George T. Stevens received double payment while in the service in 1864.
The Documents Series is divided into four sub-series. The Chronological Documents Sub-Series consists of eleven items ranging in date from 1856 to 1864, including Castleton Medical College admission tickets; a subscription receipt toFlag of Our Union ; a partially printed notebook listing voters in the town of Keene in 1858; a small leather wallet containing notes documenting George and Harriet's travels in 1861, money received, and letters; an 1864 document from the Office of the Chief Medical Officer relieving Stevens of duty; General Orders 222 from 1864; a partial copy of the regiment's participation in military campaigns from May to July 1864; undated GAR Roster; and an undated list of three people, "not paid."
The bundled documents sub-series represent the original bundling of the documents as they arrived at the Clements, but each grouping was then arranged chronologically. The Bundled Military Documents Sub-Series consists of:
The Bundled G.A.R. Documents Sub-Series consists of the following bundles:
The Miscellaneous Bundled Documents Sub-Series consists of two rolled bundles:
The Writings Series includes:
The Scrapbook Series consists of one volume with material primarily relating to George T. Stevens' post-Civil War life and career tipped or pasted in. Dated items range from 1861 to 1918. Material relates to his work with the Albany Medical College, Nature Club of Albany, the Albany Institute and its Field Meetings, the Grand Army of the Republic, military reunions, the Troy Scientific Association, the Soldiers and Sailors Union, and some references to his publications. Some material relates to his medical career, primarily ephemera from medical associations, lectures, and notices of his awards and achievements. Two Civil War-era items include an 1861 newspaper clipping from Keeseville announcing George T. Stevens' appointment in the Army and an 1861 printed circular calling to organize a Bemis Heights Battalion. Only a handful of items relate to Harriet W. Stevens and their social life. Formats include newspaper clippings, postcards, disbound pages, fliers, programs, advertisements, business or calling cards, and circulars, among others.
The Photographs Series features the following:
In addition to the above, the Photographs Series also includes two tinted ambrotypes of George T. Stevens; one tinted tintype of George T. and Harriet W. Stevens with George and Frances Davenport; one tinted daguerreotype of Frances and George Davenport; and a ca. 1864 tintype of George T. Stevens in the field in Virginia, wearing his uniform while mounted on a horse, with his groom, Austin, standing with his mule.
The Printed Materials Series primarily consists of pamphlets dating from 1850 to 1915 and includes material relating to the Sons of Temperance, Castleton Medical College, the Independent Order of Good Templars, Masons, and an Ex-Soldiers' Handbook. One pamphlet includes George T. Stevens' address to the Survivors' Association of the 77th Regiment, "The First Fighting Campaign of the Seventy-Seventh N.Y.V." There are also 165 copies of the print, "The Chimneys - April 5, 1862. Drawing by George T. Stevens." Six books are located in the Clements Library's Book Division. Please see the list in the Additional Descriptive Data below for a complete list.
The Realia Series includes the following items:
5.5 linear feet
6 cubic feet (in 7 boxes, 1 Oversized folder, 1 v.)
The collection documents the Parker family of Frankfort and Grand Rapids, Michigan, particularly captain and lawyer N.A. Parker, and his daughter, Dora B. Parker, later of Los Angeles, California. Most of the collection consists of various types of family photographs in a variety of media, correspondence, legal documents, genealogical materials, publications, verse and poetry, and other materials. Dora’s life and that of women of her period and education are documented by photographs of activities, such as biking and trips, travel journals, and by the Woman’s Lakeside Literary Club (Frankfort, Michigan), Annual Programs, 1896/1897, 1919/1920-1925/1926, of which she was a member. N.A. Parker’s life is documented mostly in photographs, notably in a fine photograph album of the Civil War, mostly of the 20th Michigan Infantry, with carte de visites of officers of the unit, and one composite image of President Lincoln. Many of the photographs are autographed or have annotations on them concerning the officer’s death. N.A. Parker is also documented in post-war GAR reunion materials and in family genealogical materials. Two published books were retained in the collection because of the additional materials and personal dedications in them to Dora. Copies are separately cataloged in the Clarke. Although Mary E. Parker’s obituary notes her early activities as a suffragette, there is no documentation of these activities or interests within the collection.
6 cubic feet (in 7 boxes, 1 Oversized folder, 1 v.)
Approximately 1,045 individual photographs, 12 photograph albums, 3 portfolios and 1 piece of realia
The Richard Pohrt, Jr. Collection of Native American photography contains approximately 1,470 images pertaining to Native Americans and Native American history taken between the 1850s and 1940s. The majority of photographs are individual and group portraits of people from tribes west of the Mississippi, with the Apache, Cheyenne, Crow, and Lakota/Dakota being particularly well represented. The collection contains both studio and outdoor photographs and reflects the dramatic upheavals in Native American life that occurred as a result of the expansion of the United States of America.
For clarity, in this finding aid the most widely-used Anglicized naming conventions have been used for most Native American tribes and individuals. Individual catalog records address the full complexities of these issues and include the most commonly used Anglicized and indigenous names and their variants.
After consulting a number of Native American representatives and scholars, it was determined that select images within the collection will not be digitized on account of the culturally sensitive nature of their content. However, culturally sensitive images have still been cataloged and are available for researchers in the reading room along with the rest of the collection.
Overall, upwards of 70 Native American tribes and subtribes (primarily those west of the Mississippi and in the Midwest) are represented throughout the collection. The amount of material pertaining to each tribe varies considerably. For example, approximately 235 photographs relate to the Lakota and Dakota, while the Hopi and Kootenai tribes are each represented in just one photograph respectively.
All of the individual photographs, albums, and portfolios have been cataloged individually. For more detailed information on specific images, please use the UM Library Search.
With the exception of items deemed to contain culturally sensitive content, all materials in the Pohrt Collection have been digitized and can be accessed online through the Pohrt digital collection platform.
In addition, the Clements Library has also created a Richard Pohrt, Jr. Collection - Partial Subject Index and a Richard Pohrt, Jr. Collection - Contributor Index to help navigate the collection.
The following list provides information on photographs (including select call numbers) pertaining to the 13 most well-represented Native American tribes in the collection as well as other items of interest. For a complete list of all tribes represented in the collection, see the Additional Descriptive Data section.
Algonquian Blackfeet
Approximately 28 photographs pertain to the three affiliated Algonquian Blackfeet tribes (Kainah, Siksika and Piegan) present in the collection. Items of particular interest include 18 studio portraits of Algonquian Blackfoot chiefs made by Tomar J. Hileman in the late-1920s (LARGE Hil.001 - LARGE Hil.018) which serve as prime examples of romanticized depictions of Indians produced in the early 20th century. Other images of note include two studio portraits of Piegan chief Three Calves taken by Mabelle Haney in 1920 (OVERSIZE Han.001 & OVERSIZE Han.002); two photographs likely taken by Thomas B. Magee in the late 1890s showing an Algonquian Blackfoot medicine man named Calf Shirt performing a ritual ceremony involving a live rattlesnake (LARGE Mag.001 & LARGE Mag.002); and two more outdoor portraits by Magee showing construction of a medicine lodge and ceremonial dancers standing before the finished lodge (BOU Mag.001 & BOU Mag.002).
Anishinaabe (Odawa, Ojibwa, and Potawatomi)
Approximately 168 photographs in the collection pertain to the Anishinaabe.
The majority of the Anishinaabe-related images in the collection (approximately 115 photos) were taken by Grace Chandler Horn between 1899 and 1912 near Petoskey, Michigan (GCH.004 - GCH.043 & GCH.050 - GCH.118). The photography shop operated by Horn in Petoskey was a major tourist attraction built around the annual "Hiawatha Pageant" performed by local Odawa actors as well as Ojibwa actors from the Garden River First Nation in Canada. Her portraits of actors and actresses involved in the Hiawatha shows are heavily represented in the collection. These images are considered prime examples of the romanticized depictions of Indians of the period and document a major Michigan tourist attraction of the time. The actors and actresses depicted in these photographs have not been identified, therefore their specific tribal affiliations have been assumed to be either Odawa or Garden River Ojibwa. The Grace Chandler Horn materials also include four photos of Odawa woman Sophia Assinaway at her home garden in Middle Village, Michigan (GCH.022 - GCH.025). Two printed items related to Grace Chandler Horn (a sample booklet of her photography and a Hiawatha Pageant libretto illustrated with Horn photographs) are also contained in Box 21.
In addition to the Grace Chandler Horn photographs, approximately 48 photos relate to the Ojibwa. Items of particular interest include portraits of Ojibwa men involved in the Dakota War of 1862 taken by Minnesota photographer Joel E. Whitney (CDV WhiJ.017 - CDV WhiJ.028, CDV WhiJ.036 & CDV WhiJ.037); stereographs by Whitney and assistant Charles Zimmerman showing Ojibwa wigwams (STE Whi-Zim.001), canoe-building (STE Whi-Zim.002 & STE Whi-Zim.002); Leech Lake Ojibwa during a payment transaction (STE Whi-Zim.004); and a studio portrait of White Cloud (STE Whi-Zim.005). Also present are photos by Zimmerman showing an Ojibwa deer hunt (STE Zim.002), Sky Down to the Earth (STE Zim.003) and To Keep the Net Up (STE Zim.004).
Other images of note include an outdoor portrait of the "Rapids Pilot" John Boucher seated in his canoe by B. F. Childs (STE Chi.002); three studio portraits of Buhkwujjenene by Thomas Charles Turner and Sydney Victor White taken during a trip to England in 1872 with Rev. Edward Francis Wilson in order to raise funds for the Shingwauk Indian Residential School (CDV Tur.001, CDV Tur.002 & CDV Whi-Whi.001); three studio portraits of Saginaw Band Ojibwa leader David Shoppenagon by Armstrong & Rudd and George H. Bonnell (CAB Arm-Rud.002, CAB Bonn.001 & CAB Bonn.002); an outdoor group portrait by Hoard & Tenney of five unidentified Ojibwa men at White Earth Indian Reservation in Minnesota (STE Hoa-Ten.001); views by T.W. Ingersoll showing Ojibwa women tanning buckskins and crafting birch canoes (STE Ing.001 & MEDIUM Ing.001); a Leech Lake Ojibwa family posing outside their wigwam (MEDIUM Bro.001); and an outdoor group portrait taken by Dan Dutro in the mid-1910s of several Cree and/or Ojibwa men partaking in a dance ceremony at Rocky Boy's Indian Reservation, Montana (BOU Dut.002).
The approximately 13 Potawatomi-related photographs in the collection mostly pertain to the Prairie Band Potawatomi Nation in Kansas. Items of particular interest include studio individual and group portraits such as Shipshewana & Madeline Lasely (CAB Uni.017); Shob-ne-kak-kak with unidentified wife by Oaks & Ireland (CAB Oak-Ire.001); a studio group portrait by W. M. Oaks of two unidentified Prairie Band Potawatomi women posing with a photograph of what may be a deceased relative (CAB Oak.001); and two portraits of Nancy Weeg-was alone and with husband Weeg-was (CAB Uni.015 & CAB Oak.002). Other materials include a group portrait of Potawatomi and white American individuals posing outside of a storefront on the Prairie Band Potawatomi Reservation in Kansas (MEDIUM Uni.004) and an image captioned "The Reserve Dudes" depicting a group of nine Prairie Band Potawatomi men who performed at Wild West Shows (LARGE Uni.003).
Apache
Approximately 68 Apache-related photographs are present. Specific Apache tribes represented include the Chiricahua, Jicarilla, Kiowa Apache, Mescalero, Mimbreño, and White Mountain Apache. Of particular note are eight boudoir photographs and one framed group portrait by C. S. Fly (BOU Fly.001 - BOU Fly.008 & FRAMED 10), the majority of which relate to the apprehension of Geronimo and his followers in 1886. Other photographs of interest include a series by Andrew Miller depicting daily life on the San Carlos and Fort Apache reservations in the 1880s (CAB MilA.001, CAB MilA.002 & BOU MilA.001 - BOU MilA.009); portraits of Apache women and scouts such as Nan-tag-a-ra, Dandy Jim and Santiago by Henry Buehman (CAB Bue.002 & STE Bue.001 - STE Bue.007); and outdoor group portraits of Chiricahua prisoners of war including Naiche and Geronimo being held at Fort Sam Houston taken by Frank Hardesty (BOU Har.001 & BOU Har.002).
Studio portraits include photographs by A. Frank Randall of Geronimo, Bonito, Dutche, husband and wife Ze-le & Tzes-Tone, Something-at-the-campfire-already-cooked (wife of Cochise), Old Nana, and Mescalero chief San Juan (BOU Ran.001 - BOU Ran.013). Also present are studio portraits of Apache chiefs and scouts such as Bonito, Chatto, Nalte, and Peaches by Ben Wittick (BOU Wit.001 & BOU Wit.003 - BOU Wit.005); Geronimo while prisoner of war at Fort Sill taken by William E. Irwin (BOU Irw.010, BOU Irw.011 & BOU Irw.024); and a Lenny & Sawyers photograph of a Kiowa-Apache man identified as "Apache Jim" (BOU Len-Saw.005).
Of further interest are photographs of Apache scouts with German-American chief of scouts Al Sieber taken by J. C. Burge (STE Bur.001 & STE Bur.002); group portraits of Apache scouts including Mickey Free, a Mexican-born Apache scout kidnapped by the Pinal Apache as a child and adopted into the tribe (STE WilW.001 & STE Bue.006); an outdoor group portrait by C. S. Fly showing Jimmy "Santiago" McKinn, a white American settler kidnapped as a child by Geronimo's band (BOU Fly.001); and several images of Apache individuals encountered during the Wheeler Expedition taken by Timothy O'Sullivan (STE Wheeler.031 - STE Wheeler.033, STE Wheeler.041, STE Wheeler.042, STE Wheeler.051 & STE Wheeler.052).
Cheyenne
Approximately 53 Cheyenne-related photographs are present in the collection, including photographs of both Northern and Southern Cheyenne, the latter of which are now part of the Cheyenne and Arapaho Tribes of Oklahoma.
Between 1875 and 1878, several dozen Southern Cheyenne, Southern Arapaho, Comanche, and Kiowa Indians as well as one lone individual from the Caddo tribe were imprisoned at Fort Marion in Saint Augustine, Florida, for their roles in the Red River War. While imprisoned, these chiefs, warriors and their families became a major tourist attraction. The Pohrt Collection contains numerous images of the Fort Marion prisoners taken by photographers such as J. N. Wilson, O. Pierre Havens, and George Pierron; of particular note are stereograph portraits of Southern Cheyenne chiefs Howling Wolf (STE Hav.001 -STE Hav.003), Medicine Water (STE Hav.005 & STE Hav.006), Mochi (STE Hav.006) and a tintype of Making Medicine made by an unidentified photographer (CASED Uni.006).
Other photographs include images purportedly related to a Southern Cheyenne & Arapaho Ghost Dance ceremony taken by C. C. Stotz in 1890 (BOU Sto.001 & BOU Sto.002); a group portrait of prisoners from Dull Knife's band taken by J. R. Riddle in 1879 (STE Rid.001); a studio portrait of two-spirit person Glad Road by Cosand & Mosser (CDV Cos-Mos.001); outdoor portraits by John K. Hillers of Cheyenne chiefs that attended the Grand Council in Okmulgee in 1875 (STE Hil.001 – STE Hil.003); a studio portrait of White Buffalo taken around the time of his arrival at the United States Indian Industrial School in Carlisle, Pennsylvania (BOU Cho.001); a studio portrait by William E. Irwin of Gertrude Threefinger wearing an elk-tooth dress (BOU Irw.003); and two panoramic views by Henry C. Chaufty depicting a supposed Southern Cheyenne Sun Dance gathering in 1909 as well as a Southern Cheyenne & Arapaho fair at Watonga, Oklahoma, in September of 1912 (FRAMED 1 & FRAMED 4).
Crow (Apsáalooke)
Approximately 94 Crow-related photographs are in the collection. On account of their historical enmity with neighboring tribes such as the Lakota/Dakota, Arapaho, and Cheyenne, the Crow firmly allied themselves with the United States and provided numerous scouts for many U.S. military expeditions in the second half of the 19th century. Several portraits of Crow scouts are present in the collection, including photographs of Curley (CAB BarD.019, MEDIUM BarD.003, STE Rin.006 & PORTFOLIO 1B) and White Swan (BOU MilF.001 & BOU MilF.002), both of whom were present at the Battle of the Little Bighorn.
Other images of note include a series of 56 stereographs by Frank A. Rinehart at Crow Indian Reservation in Montana at the turn of the 20th century (STE Rin.001 - STE Rin.056) consisting of views showing daily reservation life, ceremonies and dances, as well as individual, group, and family portraits, including one photograph of chief Plenty Coups speaking to a crowd about counting coup.
Also of interest are three images showing Plenty Coups and others present at the unveiling ceremony for the Tomb of the Unknown Soldier (FRAMED 11 - FRAMED 13); photos by O. S. Goff of Crow scouts including Bear Don't Walk and members of "L" Troop, 1st Cavalry (BOU Gof.001, BOU Gof.002, & MEDIUM Gof.003); portraits of Crow chiefs and men including Hoop on Forehead, Bear in a Cloud, and Spotted Rabbit, as well as scenes from Crow Indian Reservation by Fred E. Miller (BOU MilF.003, BOU MilF.004, LARGE MilF.001, LARGE MilF.002 & MEDIUM MilF.001 - MEDIUM MilF.005); portraits of Crow chiefs including Grey Bear, Old Coyote, Hoop on Forehead, Spies on Enemies, Big Medicine Man, Chief Little Head and Old Coyote by F. Jay Haynes (STE Hay.001 & CAB Hay.001 - CAB Hay.009); and a group portrait by an unidentified photographer of Crow prisoners of war including Crazy Head and Coups Well Known being held at Crow Indian Agency following the Crow War of 1887 (LARGE Uni.018).
Ho Chunk (Winnebago)
22 Ho Chunk-related photographs are in the collection. Items of particular interest include stereographs by H. H. Bennett of Yellow Thunder purportedly at the age of 120 (STE Ben.002), a Ho Chunk woman tanning a deerskin (STE Ben.001), a studio portrait of Big Bear (STE Ben.004) and a group of Ho Chunk men playing "Wah-koo-chad-ah" or the Moccasin Game (STE Ben.003).
Other items of note include a group portrait by Charles Van Schaik of Clara Blackhawk and her infant son Andrew (CAB Van.002); another Van Schaik portrait of Little Soldier and wife Bettie (CAB Van.001); a studio portrait by Joel E. Whitney of Chief Little Hill (CDV WhiJ.030); a studio group portrait by W. H. Illingworth of Walk in the Evening and Bear Skin (STE Ill.003); studio portraits of Chief Big Hawk and son David Big Hawk (CAB Uni.020 & CAB Uni.021); a studio group portrait by Brown & Wait of several Ho Chunk men including one individual who appears to possibly have smallpox scars (CAB Bro-Wai.001); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); and two outdoor group portraits of Ho Chunk Indians in Wisconsin partaking in a church ceremony (BOU Uni.005 & BOU Uni.006).
Two tintypes, one of an unidentified Ho Chunk father and son (CASED Uni.001) and the other a group portrait of several children (CASED Uni.002), are also present.
Kiowa
Approximately 40 Kiowa-related photographs are present in the collection. Items of particular interest include 19 studio and outdoor individual and group portraits taken by William E. Irwin of Kiowa men, women and girls including Daisy Waterman (BOU Irw.008), Anne "Kiowa Annie" Berry (BOU Irw.004 - BOU Irw.006), Millie Oytant and "Cora" (BOU Irw.007), Joe Goombi with two daughters (BOU Irw.009), Lone Wolf the Younger (BOU Irw.013 & BOU Irw.023), Lone Wolf the Younger's mother Big Black Hair (BOU Irw.014), Poor Buffalo (BOU Irw.017), Kiowa and Comanche scouts near Anadarko(BOU Irw.018 & BOU Irw.019), and Ahpeatone (MED Irw.001).
Also present are five group portraits showing Kiowa prisoners of war at Fort Marion (STE Hav.004, STE Pie.001, STE Pie.002, STE Wil-Hav.001, STE Uni.004 & STE Uni.009); studio portraits of Kiowa girls and children by Lenny & Sawyers (BOU Len-Saw.001, BOU Len-Saw.009 & BOU Len-Saw.013); a studio portrait of Ahpeatone by Trager and Kuhn misidentified as Oglala Lakota chief Young Man Afraid of His Horses (CAB Tra-Kuh.001); a studio group portrait by W. P. Bliss of Gotebo with an unidentified individual (CAB Bli.002); a studio portrait of a Kiowa girl identified as "Ka-o-ta" produced by George W. Bretz (CAB Bre.003); and a group portrait of three unidentified Kiowa girls wearing elk-tooth dresses by C. C. Stotz (CAB Stot.001).
Modoc
The 19 Modoc-related images in the collection include a series of stereographs created by Eadweard Muybridge during the Modoc War of 1872-73 (STE Muy.001 - STE Muy.011). They depict the lava bed landscape, the U.S. army camp near Tule Lake, army scouts from the nearby Warm Springs Indian reservation led by Donald McKay, and the camp of the Modoc warrior Shok-Nos-Ta. Two of the photos depict Modoc women involved in the conflict, including interpreter Toby Riddle as well as a group of Modoc women taken as prisoners of war.
Other items of interest include four studio portraits by Louis Herman Heller of Modoc prisoners of war in 1873 such as the family of Captain Jack (CAB Hel.001), the "Lost River Murderers" (CAB Hel.002), Schonchin (CAB Hel.003), and Bogus Charley (CAB Hel.004), as well as four studio portraits by David C. Herrin produced in the late 1890s showing Klamath men described as having assisted the United States during the Modoc War (CAB Herr.001 - CAB Herr.004).
Nez Percé (Nimiipuu)
13 photographs in the collection have content pertaining to the Nez Percé. Items of particular interest include individual portraits of Chief Joseph (MEDIUM BarD.004, MEDIUM Bow.001, PORTFOLIO 1C); a tintype by an unknown photographer of an unidentified Nez Percé warrior (CASED Uni.003); a studio portrait of Chief Yellow Bull by C. M. Bell in Washington D.C. (OVERSIZE Bel.001); three images produced by W. H. Partridge showing Nez Percé families and homesteads in Oregon including visuals of tipis and a horse corral (BOU Par.001 - BOU Par.003); two studio portraits of "Steps", a Native American man adopted into the Nez Percé tribe (CAB Bai-Dix.002 & CAB BarD.020); and a group portrait by Ebenezer E. Henry showing Chief Joseph, Yellow Bull, Charles Moses, and another unidentified Nez Percé chief while being held as prisoners of war at Fort Leavenworth in 1877 following the cessation of the Nez Percé War (BOU Hen.001).
Oto
21 photographs in the collection relate to the Oto and Otoe-Missouria. Images of particular note include studio portraits of White Horse by Thomas Croft (CAB Cro.001 & CAB Cro.002); studio group and individual portraits of Oto chiefs including William Faw Faw, White Horse, Huma, Opanomnina and Parthayne by Lenny & Sawyers (BOU Len-Saw.004, BOU Len-Saw.006, BOU Len-Saw.007 & BOU Len-Saw.011); a studio portrait of Standing Eating by John K. Hillers in Washington D.C. (CAB Hil.001); an outdoor group portrait of an unidentified Oto family in Indian Territory posing in front of their home (MEDIUM Uni.014); an individual and group studio portrait showing Chief George Dailey (CAB Uni.008 & CAB Uni.009); three photos by William S. Prettyman including two studio portraits of unidentified Oto groups as well as an outdoor group portrait of the family of Baptiste DeRoin(CAB Pre.001, BOU Pre.001 & BOU Pre.002).
Sac & Fox
21 photographs relate to the Sac & Fox tribes, predominately consisting of images related to the Sac & Fox tribes of Iowa, Oklahoma, and to a lesser extent Kansas. Items of particular interest include several studio portraits of Iowa-based Sac & Fox individuals (known today as the Sac and Fox of the Mississippi in Iowa) taken by photographers H. C. Eberhart, J. L. Hudson, and J. S. Moore during the 1880s (CDV Eber.001, CAB Hud.001, CDV Hud.001, CDV Hud.002 & CAB Moo.002 - CAB Moo.008); a group portrait by Oakes & Ireland of a Kansas-based Sac and Fox ceremonial dancer with his son (CAB Oak-Ire.002); an outdoor group portrait taken by William S. Prettyman around 1895 showing a group of people from the Sac & Fox Mokohoko band including Chief Paw-She-Paw-Ho (LARGE Pre.001); a studio portrait of Walter Battice by John K. Hillers taken sometime during the early 1920s before Hillers' death in 1925 (BOU Hil.001); a group portrait of a Sac & Fox Nation of Oklahoma man at home with his wife and sleeping infant child (STE Key.001); two studio portraits of Sac & Fox chiefs taken by C. M. Bell in Washington D.C. (OVERSIZE Bel.002 & OVERSIZE Bel.003); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); a studio group portrait by J. L. Hudson of Charles Keokuk and an unidentified Sac & Fox Tribe of the Mississippi in Iowa chief (CDV Hud.002); as well as a studio portrait of a Sac & Fox chief claimed by the unidentified photographer to be a grandson of Black Hawk (CDV Uni.003).
Lakota and Dakota
Over 240 photographs pertain to the Lakota and Dakota (also commonly referred to collectively as the Sioux, a term that has pejorative origins). The Dakota consist of three sub-tribes (the Santee, Yankton, and Yanktonai) while the Lakota consist of seven sub-tribes; the Sicangu (Brulé), Oglala, Miniconjou, Hunkpapa, Itázipco (Sans Arc), Sihasapa, and Oóhenunpa. The Pohrt Collection contains photos related to all three Dakota sub-tribes as well as photos related to every Lakota sub-tribe except for the Oóhenunpa.
The majority of the approximately 40 images in the collection related to the Santee Dakota were taken around the time of the Dakota War of 1862 in Minnesota, when several bands initially led by Chief Little Crow revolted against federal Indian agents who had regularly failed to supply promised foodstuffs and annuities. After several months of fighting, most of the Santee surrendered and thirty-eight were eventually executed in Mankato, Minnesota, on December 26th 1862 in what remains the largest mass execution in U.S. history. Items of particular interest include four photographs taken by Adrian Ebell prior to and during the outbreak of the conflict (CDV Ebe.001 & STE Ebe.001 - STE Ebe.003); three photographs by B. F. Upton showing Santee prisoners of war at Fort Snelling including Little Crow's sons White Spider and Thomas Wakeman (STE Upt.001, CDV Upt.001 & CDV Upt.002); as well as 21 studio portraits produced by Joel Whitney depicting Santee prisoners of war, many of whom were among the executed at Mankato (STE WhiJ.002, STE WhiJ.003, STE WhiJ.034, CDV WhiJ.001 - CDV WhiJ.010, CDV WhiJ.012 - CDV WhiJ.016 & CDV WhiJ.032 - CDV WhiJ.034). Also present is an outdoor group portrait of Santee men taken by T. W. Ingersoll in the 1890s (MEDIUM Ing.002); a studio portrait of Wabasha III (CAB Lak.001); a Stanley J. Morrow studio portrait of an elderly Santee woman named Sacred Blanket purported to be 133 years old (STE MorS.036); and a studio portrait of Abbie Gardner Sharp, a white American woman who survived being captured by Santee raiders after the Spirit Lake Massacre of 1857 in Iowa in an incident which is generally considered a precursor to the Dakota War (CAB Uni.022).
Other Santee materials include several portraits of physician Dr. Charles Eastman taken by Grace Chandler Horn in the 1910s (GCH.001 - GCH.003 & GCH.044 - GCH.049). Dr. Eastman, grandson of U.S. Army officer and renowned artist Seth Eastman, attended Dartmouth College and then Boston University's medical school, becoming one of the first Native Americans certified as a western-style doctor. He later established the Indian YMCA and helped found the Boy Scouts of America, as well as becoming a national spokesman for Native Americans.
Images of particular interest involving the Yankton Dakota include an outdoor group portrait of Struck-by-the-Ree and Feather Necklace by Stanley J. Morrow (STE MorS.020); a group portrait taken by O. S. Goff of fifteen unidentified Yankton chiefs with an Indian Agent (MEDIUM Gof.001); two photos by W. R. Cross consisting of a studio portrait of an unidentified Yankton man (CDV Cro.005); and a composite photograph showing twelve different photographs of Native Americans from Dakota Territory including an image of a Yankton scaffold burial (BOU Cro.001).
Yanktonai Dakota images of interest include photos by D. F. Barry of Standing Rock Indian Reservation policeman Henry Bull Head who reportedly shot Sitting Bull after having been mortally wounded himself during the arrest (CAB BarD.011); an elevated outdoor group portrait taken during the 1885 census at Standing Rock (MEDIUM BarD.001); a studio portrait of interpreter and scout John Bruguier by George Spencer (CAB Spe.013); two studio portraits of Mad Bear (CAB BarD.017 & CAB Sco.005); stereographs by Stanley J. Morrow showing Yanktonai chiefs Black Eye, Bloody Mouth, Afraid of the Bear (STE MorS.019) and Medicine Bear (STE MorS.003 & STE MorS.004); and a studio portrait of Wolf Necklace by O. S. Goff (STE Gof.008).
Several photos are related to the Ghost Dance movement on the Lakota reservations and the subsequent buildup to and aftermath of the Wounded Knee Massacre. Specific items of interest regarding the Lakota Ghost Dance movement include a secret photo taken by Sam T. Clover without the subjects' permission of a Ghost Dance feast in which Sitting Bull supposedly stands at center (LARGE Clo.001); a photograph by James E. Meddaugh showing a Ghost Dance being performed by Oglala Lakota men and women at Pine Ridge (CAB Medd.001); an outdoor portrait by George W. Scott of a Lakota woman named Scarlet Woman who had been arrested in November of 1890 for proclaiming to be the "mother of the Messiah" (CAB Sco.003); and several individual and group portraits by Trager & Kuhn of Lakota chiefs both involved with and opposed to the Ghost Dance movement, including Kicking Bear, Stinking Bear, Hollowood, Crazy Bear, Crow Dog, Two Strike, Young Man Afraid of His Horse, Good Lance, Short Bull, High Hawk and Big Talk (BOU Tra-Kuh.009, BOU Tra-Kuh.015, BOU Tra-Kuh.016, BOU Tra-Kuh.022 - BOU Tra-Kuh.025 & BOU Tra-Kuh.027). Also of note are other photographs by Trager & Kuhn including a studio portrait of Kiowa chief Ahpeatone (erroneously identified as Young Man Afraid of His Horses) who had been sent to visit his Lakota relatives on Pine Ridge Indian Reservation in order to learn about their version of the Ghost Dance (CAB Tra-Kuh.001) as well as a "bird's-eye view" of a Ghost Dance at Pine Ridge on November 25th 1890 which may have been originally taken by James E. Meddaugh (BOU Tra-Kuh.031).
Approximately 51 photographs directly pertain to the Wounded Knee Massacre. Materials of note include a view by Clarence G. Morledge of the "Bloody Pocket" valley where the Drexel Mission Fight took place one day after the massacre (BOU Morl.001); a series of studio portraits by George E. Spencer depicting several individuals involved with the Ghost Dance movement who were being held as prisoners of war at Fort Sheridan after Wounded Knee (CAB Spe.004 - CAB Spe.012); and a group portrait by an unidentified photographer in 1902 of Chief Calico with son Frank Calico and wife Good Dog, the latter of whom was purportedly a "great Medicine woman at Wounded Knee in 1890" (LARGE Uni.005).
Photographs from albums compiled by Michigan-based photographer Fannie Hoyt include views of the Wounded Knee battlefield (Albums 4B & Albums 4D) and portraits of individuals known to have survived the massacre such as Joseph Horn Cloud (Albums 4C), Daniel White Lance (Albums 4F) and possibly Dewey Beard (Albums 4C). Graphic photographs by Trager & Kuhn show bodies of victims at the site of Wounded Knee, as well as scenes at Pine Ridge Indian Reservation immediately following the massacre (BOU Tra-Kuh.001, BOU Tra-Kuh.002, BOU Tra-Kuh.004, BOU Tra-Kuh.008 - BOU Tra-Kuh.014, BOU Tra-Kuh.016, BOU Tra-Kuh.020, BOU Tra-Kuh.022 - BOU Tra-Kuh.026, BOU Tra-Kuh.028 - BOU Tra-Kuh.030 & LARGE Tra-Kuh.001 - LARGE Tra-Kuh.004). Photographs by John C. H. Grabill include images of a Grass Dance being performed by Miniconjou dancers four months prior to the massacre (LARGE Gra.001 & LARGE Gra.002); scenes from "hostile" Lakota camps on Pine Ridge Indian Reservation (LARGE Gra.003 & LARGE Gra.004); Gen. Nelson Appleton Miles and staff at Pine Ridge (LARGE Gra.008); negotiations taking place between U.S. Army officers and Lakota leaders at Pine Ridge following the massacre (LARGE Gra.007); individual and group portraits of Lakota individuals including Crow Dog (LARGE Gra.009), Plenty Horses (STE Gra.001 & FRAMED 6), Jack Red Cloud (LARGE Gra.011), a wife and family of American Horse (LARGE Gra.005), and survivors of Big Foot's band (LARGE Gra.006); as well as a group portrait of Brulé and Oglala Lakota men, women, and children, including an infant purported to be one of the two babies known to have been miraculously recovered from the Wounded Knee site three days after the massacre (LARGE Gra.010).
Other photographs of note include a group portrait by Frank Currier showing a Lakota delegation to Washington, D.C., in May of 1875, including chiefs Red Cloud, the Oglala Sitting Bull, Swift Bear, and Spotted Tail as well as Prussian-Jewish interpreter Julius Meyer (STE Cur.001); a view of a Brulé "war dance" at Rosebud Agency (BOU Uni.002); a group portrait of Louis Dewitt and family at Fort Bennett, Dakota Territory (MEDIUM Uni.009); and three views by E. A. Fry of lodges at an Oglala encampment on Pine Ridge Indian Reservation in 1883 including a Medicine Scalp Lodge and Sun Dance Lodge (LARGE Fry.001 - LARGE Fry.003).
Also present are views of Lakota scaffold burials (STE MorS.027, STE MorS.029 & BOU Cro.001); a photo showing a group of Lakota dancers in traditional dress posing outside the home of Emma Sickels with American flags and a Benjamin Harrison flag related to the 1888 presidential election (BOU Tra-Kuh.032); three studio group portraits by Robinson & Roe of the Sioux Treaty Commission of 1889 (CAB Rob-Roe.001 - CAB Rob-Roe.003); portraits including Lakota family members related to American frontiersman John Young Nelson (CAB AndD.001, CAB Ell-Fry.001, CAB Fra.001, & LARGE Gra.010); and a Trager & Kuhn view of Red Cloud's wife Pretty Owl inside the couple's cabin at Pine Ridge (Tra-Kuh.005).
Ute
Approximately 16 photographs in the collection pertain to the Ute tribe. Specific Ute sub-tribes represented in the collection include the Capote, Moache, and Tabeguache. Images of particular note include studio portraits by William H. Jackson of Ute chiefs Ouray (CAB Jac.001) and Colorow (CAB Jac.002), Ouray's sister Shawsheen erroneously captioned as being Ouray's wife Chipeta (CAB Jac.003) and Tushaquinot (CAB Jac.004 & BOU Jac.001); a studio portrait by Charles M. Bell of a member of Ouray's band called "Tom Ute" (OVERSIZE Bel.007); and portraits by C. R. Savage of a Ute family (CDV Sav.001) and a warrior identified as "Indian Charley" (STE Sav.001).
Also present are two portraits made by Timothy O'Sullivan during the Wheeler Expedition of Capote Utes including a woman named "Pah-ge" (STE Wheeler.039) and a group of unidentified Ute warriors (STE Wheeler.040); two studio portraits by Ben E. Hawkins showing a group of Ute chiefs (STE Haw.001) and a chief named "Washington" (BOU Haw.001); a studio portrait by J. N. Choate of an unidentified Native American man (possibly a Ute) erroneously identified as Colorow (MEDIUM Cho.001); and a studio portrait of White River Ute leader Chief Johnson by W. G. Chamberlain in which the subject holds a studio prop staff affixed with a scalp lock (CAB Cha.001).
Photo Albums & Portfolios
12 photograph albums and one three-volume portfolio set are present in the collection.
The John Alvin Anderson album consists of 49 images of scenes from the Rosebud Indian Reservation, South Dakota, in the late 1880s and early 1890s. Photographs depict daily Lakota life on the reservation including landscapes, boarding schools, camp life and homesteads, reservation police, and Fourth of July-related dance ceremonies. Images pertaining to cattle ranching and Native American cowboys are also a prominent theme in the album. Several portraits of Brulé Lakota men are also included, including Hollow Horn Bear, Crow Dog, and Two Strike. Of particular note is a group portrait of several Brulé Lakota men preparing for a "Journey to Eastern Cities".
The Osage Indians photograph album contains 49 images mostly taken by George W. Parsons near Pawhuska, Oklahoma, ca. 1880 to 1900 that for the most part pertain to the Osage tribe. Images of particular interest include photographs of Osage Reservation buildings, boarding schools, portraits of Osage men, women, and children, cattle ranching scenes, and images captioned "Sun Dance" that likely depict Fourth of July celebrations. Also present are 12 photographs likely taken by the unidentified compiler of the album which show street scenes and buildings from Pawhuska, white American sightseers at "Lover's Leap" rock formation, and an Osage lodge flying an inverted American flag.
The Fort Berthold album compiled by an unknown photographer contains 54 images primarily related to the Mandan tribe at Fort Berthold, North Dakota, ca. 1890 to 1910. Images of particular interest from the front two-thirds of the album include landscape views, Fort Berthold Agency buildings and homesteads, reservation police, meat drying, and photographs of Mandan men, women, and children. The final third of the album contains photographs of dead animals, hunting trophies, a taxidermy business, bison farm, and the Northern Pacific railroad bridge in Bismarck, North Dakota. Some of the Native Americans depicted may belong to the Arikara and Hidatsa tribes who also reside at Fort Berthold.
The Fanny Hoyt albums (9 volumes) consist of approximately 287 images taken during visits to the Pine Ridge Indian Reservation in South Dakota from 1900 to 1903. Fanny Hoyt (1868-1949) was a photographer from Wayland, Michigan. Images of interest include numerous portraits of Lakota men, women, and children (many of whom are identified with captions), buildings from around Pine Ridge agency, landscape views including the Badlands, and photographs related to cattle ranching and meat distribution. Of particular note are photographs of the site of the Wounded Knee Massacre, a Catholic Indian Meeting House, giveaway ceremonies, preparation of boiled dog meat, wooden coffins captioned "Indian Graves", the interior of a Lakota church, scenes from Fourth of July celebrations, and group portraits of Lakota pupils at "No. 29 Day School".
Other Items of Note
52 stereographs taken by Timothy O'Sullivan and William H. Bell relate to the survey expeditions led by Lieut. George Wheeler (STE Wheeler.001 - STE Wheeler.052) in the years 1873 and 1874. These images depict not only the natural landscapes explored during the survey, such as Canyon de Chelle and Shoshone Falls, but also the Apache, Navajo, Ute, and Zuni peoples through whose lands the survey passed. Includes original stereograph box.
Approximately 30 photographs primarily taken by J. N. Choate are directly related to the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Founded in 1879 by Captain Richard Henry Pratt of the U.S. Army, Carlisle was the flagship Indian boarding school until its closure in 1918. Over ten thousand Native Americans attended the school, where they were subjected to a strict regimen devised under Pratt's motto of "Kill the Indian, save the man." Arriving students had their hair shorn and their clothes replaced with European-style dress, while students were also forced to take new English names and forbidden to speak their native languages.
More items of interest related to the Carlisle School include outdoor group portraits of Dakota boys and girls (BOU Cho.004 & BOU Cho.005); a view of the Boy's Quarters (BOU Cho.009); studio group portraits of Navajo students (BOU Cho.008); Laguna Pueblo students (CAB Cho.001); and Arapaho students (BOU Cho.009).
Of further note is an outdoor group portrait taken by William H. Tipton of nearly thirty Cheyenne and Arapaho parents and Carlisle students visiting the Gettysburg battlefield in 1884 (OVERSIZE Tip.001).
Other noted Indian chiefs, leaders and warriors represented in the collection include Wovoka, the Paiute prophet whose preaching formed the basis for the Ghost Dance movement (CAB Butl.001 & CAB Butl.002); Washakie, chief of the Eastern Shoshones (BOU Bak-Joh.001, BOU Bak-Joh.002, CAB Bak-Joh.001 - CAB Bak-John.003, BOU Hay.001 & MEDIUM Hay.001); Osage chief Bacon Rind (MEDIUM Dix.002); Ponca warrior Big Snake (STE MorS.013); Ponca chief Standing Bear (FRAMED 9); Pawnee chief Young Bull (MEDIUM Dix.001); Pawnee warrior Big Spotted Horse (FRAMED 8); Pawnee chief Petalesharo II (STE Carb.002, STE Carb.003 & STE Carb.007); the last "full-blood" Kansa council including Forrest W. Chouteau, Silas Conn, Little Jim, Jesse Mehojah, Roy Monroe and James Pepper (LARGE Uni.002); Hidatsa chief Hard Horn and son Long Arm (STE Gof.005); Bill Jones of the Gros Ventre (BOU Morr.005, BOU Morr.006 & MEDIUM Mat.001); Mandan chief Wa-Shú-Na-Koo-Rá, the son of Chief Four Bears (STE MorS.006); Enoch Hoag, last traditional chief of the Caddo (BOU Len-Saw.010); Northern Arapaho leader Sherman Sage (BOU Hay.001); and Billy Fewell, a Seminole leader and tribal historian of partial African descent (BOU She.001 & MEDIUM Uni.005).
Many images depict encampments, dwellings, dance lodges, and other architectural constructions made by Native Americans as well as American settlers. Particularly noteworthy items include several views of sod buildings (MEDIUM But.001, MEDIUM Uni.013, BOU Tem.001, CAB Tem.001, Albums 4B & Albums 4C); a view by Winter & Brown of two totem poles outside the home of Stikine Tlingit chief Gush Tlein in Wrangel, Alaska (BOU Win-Bro.001); Hidatsa and Mandan structures in Like-a-Fishhook Village at Fort Berthold Agency taken by Stanley J. Morrow (STE MorS.011, STE MorS.012 & STE MorS.030); stereographs by John Carbutt showing Pawnee mud lodges and drying racks laden with sliced pumpkin rinds (STE Carb.004 & STE Carb.005); views showing Ho Chunk chipotekes (STE Ben.002, STE Ben.003 & BOU Ten.001); and buildings and agricultural works at Zuni Pueblo (STE Wheeler.016 & STE Wheeler.018).
Numerous photographs pertain to dance ceremonies, including images related to the Sun Dance, Ghost Dance, Grass Dance, Fox Dance, "Squaw Dance," and more. Photographs related to Fourth of July ceremonies are also prevalent. After the Religious Crimes Code was first enacted in 1884, traditional Native American customs and dances began to be forbidden on reservations. In response, many tribes started using the Fourth of July (which generally overlapped with the historic timing of Sun Dance festivities) as a means of expressing traditional aspects of their cultures while simultaneously displaying patriotism for the United States of America, something which was actively encouraged by Indian Agents.
Items of particular interest with regards to Native American Fourth of July celebrations include an image of what possibly may be Lakota/Dakota dancers in the middle of a performance (LARGE Uni.004); two Trager & Kuhn photographs of Lakota chiefs involved in Fourth of July celebrations at Pine Ridge Indian Reservation (BOU Tra-Kuh.007 & BOU Tra-Kuh.015); a view of a large Plains Indian encampment gathered for Fourth of July in 1892 (BOU Uni.001); three photographs by White's Studio related to Fourth of July celebrations by the Cheyenne and Arapaho at El Reno, Oklahoma Territory, on July 4th 1898 (LARGE Whi.001 - LARGE Whi.003); a Norman A. Forsyth photograph of a Kootenai "Sun Dance" lodge being assembled in 1904 (STE For.001); a Frank Bennett Fiske photograph showing tipis painted for a Fourth of July gathering at Standing Rock Reservation (OVERSIZE Fis.001); five photographs by Sumner W. Matteson taken during a Fourth of July celebration among the Gros Ventre on Fort Belknap Indian Reservation, Montana (MEDIUM Mat.001 - MEDIUM Mat.005); a panoramic photograph by H. C. Chaufty depicting a "Sun Dance" gathering in 1909 (FRAMED 4); and two photographs related to a Fourth of July parade involving a group of Menominee Indian men, women, boys, and girls (MEDIUM Joh.002 & MEDIUM Joh.003). Three of the Fanny Hoyt albums (Albums 4C, Albums 4D & Albums 4H), the John Alvin Anderson Album (Albums 1) and the Osage Indians Photograph Album (Albums 2) also contain images related to Fourth of July celebrations.
The Pohrt Collection is particularly rich with photographic examples of Native American material culture in part due to the collection creator Richard Pohrt, Jr.'s own personal interest in that subject. Numerous images show various elements of clothing & dress such as shell and bead necklaces, bear claw necklaces, otter fur and cloth turbans, feather and porcupine fur headdresses, breechcloths, buckskins, dresses trimmed with real and/or imitation elk teeth, gorgets, cinder goggles, cloth and fur hair wraps, hats, otter fur and hairpipe breastplates, bow and rifle cases, face and body paint, presidential peace medals, blankets, robes, bandolier bags, moccasins, and articles of clothing embroidered with beadwork, porcupine quillwork, and silk ribbon applique. A number of images also contain examples of traditional weaponry including tomahawks, war clubs, bows and arrows, spears, shields, knives, and coup sticks. Richard Pohrt, Jr. has provided extensive notes regarding elements of material culture that have been incorporated into individual catalog records.
Several photographs present in the collection especially highlight the issues of cultural appropriation and racism with regards to Native Americans. Photographs in which white American subjects appear dressed in "traditional" Native American clothing include an outdoor group portrait by W.E. Vilmer showing a group of white children dressed in Indian costumes (OVERSIZE Vil.001); a studio group portrait by Hans H. Stolze of two white men wearing Indian costumes and holding pistols (CAB Stol.001); and a group portrait showing a room of white men and women dressed in Indian costumes related to an unidentified branch of the Improved Order of Red Men (MEDIUM Uni.011). Also present are two photographs that were used as exhibit pieces by the Western Americana collector Charles Frederick Fish during the Second International Congress of Eugenics Exhibit of Scientific Studies at the American Museum of Natural History in New York City in 1921; the first photograph is a studio group portrait by E.E. Henry of four Nez Percé chiefs including Chief Joseph, Charles Moses, and Yellow Bull while they were being held as prisoners of war at Fort Leavenworth, Kansas (BOU Hen.001); the second photograph is a studio portrait of the Apache chief Bonito by Ben Wittick (BOU Wit.003).
Numerous photographs in the collection contain culturally sensitive content, including images related to sacred ceremonies that were often photographed under duress and/or without explicit permission (such as photographs related to Ghost and Sun Dance ceremonies); images of Native American graves; and images of actual deceased Native American persons, such as the Trager & Kuhn photographs showing the aftermath of the Wounded Knee Massacre. Other culturally sensitive photographs not mentioned elsewhere in this Finding Aid include a staged view by George W. Bretz showing two U.S. Army soldiers and two unidentified Native American men horsing around in a sweat lodge at Fort Sill, Indian Territory, in what appears to be a mock imprisonment scene (CAB Bre.006); a view by Edward De Groff of a Tlingit grave and cremation ground in Juneau, Alaska (BOU Deg.003); an outdoor group portrait by W. H. Partridge of an Aak'w Kwáan Tlingit family that appears to be dressed for a mourning ceremony (BOU Par.004); and a postmortem portrait of a Sarsi woman sitting at the bedside of her deceased daughter (LARGE Uni.001).
Photographs that have been deemed to contain culturally sensitive content will not be made digitally accessible and will only be available for use in the reading room.
See Additional Descriptive Data Section for more comprehensive listing of subject terms, tribal names, personal names, and contributors.
Approximately 1,045 individual photographs, 12 photograph albums, 3 portfolios and 1 piece of realia
1.5 linear feet
The Woods family papers chronicle the establishment of an important family in western Virginia during the 18th and early 19th centuries. While the bulk of the collection pertains to Archibald Woods' (1764-1846) activities as a surveyor and land speculator in Ohio County, the collection also contains several letters from later generations of the family, and documents relating to military and public affairs. A series of land surveys of the Ohio Valley, prepared by Archibald Woods, has been arranged and placed at the end of the collection, and two land documents relating to Woods property are also present in Oversize Manuscripts, a 1774 deed signed by Dunmore granting lands in Botetourt County and an 1820 grant signed by James Monroe for lands in Ohio.
The collection includes a petition relating to the Alien and Sedition Act of 1798. Addressed to the Senate and House of Representatives of Virginia from the citizens of Ohio County, the petition includes thirty nine signatures protesting the Acts. The signers expressed their concern regarding what they saw as a violation of the Constitution, and asserted that the acts were a "serious cause of alarm" for the citizens of Ohio County, whom, they noted, continued to adhere to the Democratic principles of the American Revolution.
During the time that Andrew Woods served as sheriff of Botetourt County, 1777-1780, he kept a small, deerskin-bound notebook of his activities including receipts and notes on the collection of taxes and fees. There are also sporadic family business records. Included are an agreement for disposition of property including land, livestock, and enslaved persons (named Herod [Bin?], Sip, Ceasar, and Nanas). A copy of a contract between siblings Andrew, Martha, and Archibald (likely Andrew Woods' children) for the care of Martha Poage Woods and arrangements for the purchase of an enslaved person for Elijah Woods is also present. The contract provided for clothing, food, and shelter and, if Martha chose "to go back over the mountains," to provide an enslaved person to care for her.
Over fifty surveys and treasury warrants document Archibald Woods' importance as a surveyor and land speculator in the Ohio River Valley. Many of these can be positively traced to land that today lies in the state of West Virginia, mostly in the panhandle, but, Woods owned property throughout Ohio County, which then included parts of Ohio and a corner of Pennsylvania. A contemporary range and township map assists in situating Woods' land holdings.
Seven printed orders, each unique, or nearly unique, include information about troop recruitment and deployment during the War of 1812, and about demobilization at the end of the war. Among other documents in the collection are Archibald Woods' commissions and resignations.
There is little true correspondence in the Woods family papers, although one item, a letter from Joe Woods, is of some interest. In this letter written to his mother, Woods summarizes his reasons for transferring to Princeton, assuring her of his sound character and his decision. William Woods' ledger and daybook from 1828 and Hamilton Woods' cypher book from ca. 1820s are also present in the collection. The collection contains a photograph album with cartes-de-visite, cabinet cards, and other photos from around the 1870s and 1880s, as well as approximately 0.5 linear feet of photographs of Woods family members, particularly Ruth Woods and Charles Moss from the early 20th century, and the Woods family homestead.
Finally, the collection contains useful information about the Woods family estate, Woodsdale. Three documents from 1815-1816 provide floor plans and a record of construction costs, and there are two copy photographs of the house as it stood before its demolition in 1949. In 1976-77, Ruth Moss described the physical layout of the home and grounds as she recalled them, as well as her memories of life at Woodsdale in the early part of the century. An additional 0.25 linear feet of Ruth Moss's genealogical research on the Woods family is also present.
1.5 linear feet
3.5 linear feet
Collection Scope and Content Note:
The Turner-Harlan family papers are made up of correspondence, legal and financial documents, photographs, scrapbooks, genealogical information, and other materials spanning multiple generations of the Turner and Harlan families of Newport, Rhode Island, and Maryland. The collection particularly regards US Navy Surgeon Dr. William Turner (1775-1837), Commodore Peter Turner (1803-1871), Hettie Foster Harlan née Turner (1850-1937), and their relations. The papers are arranged into five series: Turner Family Papers, Harlan Family Papers, Photographs, Printed Materials, and Turner-Harlan genealogical papers
The Turner Family Papers seriesconsists of 112 letters to and from members of the Turner family and their associates, five log books, and assorted ephemera, with most items dating between 1790 and 1860.
The Turner family Correspondence and Documents subseries contains 112 incoming and outgoing letters and documents of members of the Turner family between 1749 and 1871 (bulk 1799-1840s).
The largest coherent groups within this subseries are 40 letters and documents of Dr. William Turner (1775-1837), revolving largely around his military and medical careers between 1799 and 1837; and 49 letters and documents of Peter Turner (1803-1871), most of them letters to his parents while in naval training and service, 1820-1844. Selected examples from William Turner's manuscripts include:
The 49 letters and documents of Peter Turner are largely comprised of correspondence with his parents. Turner wrote as a midshipman aboard vessels in the West Indian and Mediterranean squadrons during the 1820s. He sent his most robust letters from Rio de Janeiro on July 10, 1826, and aboard the US Ship Falmouth on a voyage to Vera Cruz in 1828. Turner met the Erie at Vera Cruz, expecting to find his brother William C. Turner aboard, but the sibling had been left at Pensacola for unspecified reasons. Peter Turner received the disconcerting news of the death of a family member and wrote about his distress at not being able to return home. He updated his parents as he traveled to Pensacola and then the Navy Yard at Charleston, South Carolina. Later in 1828, he joined the US Ship Hornet on a voyage to Brooklyn; yellow fever took the lives of three midshipmen on the trip (November 19, 1828).
From 1828 to 1829, Peter Turner wrote from Brooklyn, where he became an officer in March 1829. The remainder of Peter Turner's correspondence and documents are scattered, including for example:
The Turner family Logbooks subseries includes five log books from three different United States Navy vessels:
The remainder of the Turner family series includes miscellaneous writings and cards. The three pieces of writing include a recipe for "Dr. King's Diarrhoea Mixture" (undated); a note from "Daughter" to her mother, secretly pleading with her to change the daughter's teacher (undated), and "Lines on the Death of Miss Martha Turner" (September 17, 1870). Five calling and visiting cards date from the 1850s to the late 19th century.
The Harlan Family Papers series includes approximately 250 items relating to the lives of the Harlan family. The series includes correspondence, legal and financial papers, and scrapbooks.
The Harlan family Correspondence subseries contains 45 letters to and from members of the Harlan family, 1846-1925, with the bulk of the materials falling between the 1880s and the 1910s. A majority concerns the everyday lives of the Henry and Hettie (Turner) Harlan family, including their siblings and children. The most prevalent writers and recipients include Hettie's brother James Turner Harlan of Philadelphia; William H. Harlan of the law firm of Harlan & Webster in Bel Air, Maryland; and Hettie's aunt Ada H. Turner.
One item of particular interest is a letter from "David" [Harlan?] to Henry Harlan, dated August 12-14, [1846], and written aboard the US Steamship Princeton (during the US-Mexico War). David summarized and speculated about current political matters, including tensions relating to the ousting of President Salinas, the assumption of the presidency by Paredes, and the anticipation of the return of Santa Anna. He also provided a lengthy anecdote about the laborious process of loading sheep and cattle from the shores of Sacrificios onto the Princeton.
The Harlan family Legal and Financial documents subseries contains 165 items, dating primarily between 1815 and 1924, and consisting of land deeds and contracts, estate-related materials, and assorted receipts, accounts, checks, and other financial materials. The bulk of the real property referred to in the documentation was in Harford County, Maryland.
One bundle of 21 telegrams, manuscript notes, and newspaper clippings trace the April 1902 Disappearance and Suicide of James V. P. Turner, a prominent Philadelphia lawyer and son of Commodore Peter Turner.
A group of 12 miscellaneous Writings, Cards, and Invitations date from the 1870s to the 20th century. These include 1877 New Year's resolutions by Hettie F. Turner; an 1886 "Journal of Jimmie & Pansie Harlan's Doings and sayings" [By Hettie Foster Turner Harlan?]; a handwritten program for Darlington Academy commencement entertainments, June 18, 1897; and a typed graduation speech titled "We Launch To-night! Where Shall We Anchor?" ([James T. Harlan?], Darlington Academy, class of 1899).
The Photographs series includes six cyanotypes, three cartes-de-visite, four snapshots and paper prints, and three negatives depicting members of the Turner and Harlan families. The CDVs are portraits of Commodore Peter Turner (unidentified photographer), a 16 year-old Henry Harlan (by Richard Walzl of Baltimore), and Hettie Foster Turner Harlan in secondary mourning attire (by Philadelphia photographers Broadbent & Phillips). The cyanotypes, prints, and negatives include 1890s-1910s images of the family's Strawberry Hill estate, Henry and Hettie Harlan, "Pansy" (Hettie F. Harlan), and other family members.
The Scrapbook subseries is comprised of six scrapbooks relating to different elements of the Harlan family.
The Printed Materials series includes:
The Turner-Harlan Genealogy series consists of a wide array of materials relating to genealogical research of the Turner-Harlan families. Items include handwritten family trees, familial biographies, and professionally-produced genealogical items. Also included are 20th century Harlan family newsletters.
3.5 linear feet
7 volumes
The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend. Newspaper and journal clippings were mainly taken from New York-based publications. Most of the clippings are in extremely fragile condition. Many clippings are coupled with inscriptions indicating the name and date of the publication they were taken from. Numerous photographs also bear inscribed captions. Each volume measures approximately 25 x 19 cm in size and has marbled paper covers.
In addition to this finding aid, the Clements Library has also created the G. L. Townsend Scrapbook Inventory which serves as an itemized list of the contents of each scrapbook.
7 volumes
85 items
The John and Samuel Hunt papers are comprised of 78 letters, 1 receipt, 3 miscellaneous printed items, 2 photographs, and 1 diary. The collection consists primarily of Civil War era correspondence between the friends and family of John and Samuel Hunt, with many letters between the two brothers. For the most part, cousins, sisters, and friends wrote the pre-Civil War letters, addressed to John Hunt. These concern family matters, school, and local Ohio politics.
John's Civil War era letters, mainly to Samuel with a few items to other family members, focus on his relationship to his family, particularly his parents. He also described Civil War camp life in Missouri, Tennessee, and near Corinth. Early on, in a letter from December 8, 1861, he wrote about a conflict between his regiment's lieutenant colonel and captain over a battalion drill, which almost resulted in a duel. The brothers often bonded over the activities (past and present) of the Delta Kappa Epsilon (DKE) fraternity, which they had both joined at Miami University. Samuel sent John his DKE pin, which made him popular with the ladies in St. Louis (February 23, 1862). Samuel kept John up-to-date on the fraternity's election results and activities. A few months after the war, John was working in Washington DC as a lawyer's clerk and reported that the town was "full of rebels at present seeking pardon" (September 17, 1865).
Letters from Samuel describe university life during the war and the impact that the war was having on the homefront. He included fiery political commentary and espoused bellicose sentiments, particularly in the early part of the war. In a letter to John dated May 25, 1861, Samuel wrote: "The murder of the accomplished Col-Ellsworth must and will be avenged -- those fine Zouaves will cause destruction in the enemy's camp -- they are 'spoiling for a fight' and will soon be gratified[.] " Samuel kept up his correspondence with a number of friends and Miami University alumni with whom he communicated about the school and his own academic progress.
The John Hunt's Civil War diary contains accounts of his service as adjutant with the 81st Ohio Infantry Regiment between January and December, 1862. He entered notes almost daily, except during his sick leaves in April and from August 15 through the end of 1862. During his leave, Hunt wrote a few entries in August concerning an Ohio Copperhead and his views on the draft, and recorded a short run of daily entries from November 1-22. The diary includes descriptions of travels in the north and south and is most detailed between May and August, when the 81st Ohio took part in the assault on Corinth, Mississippi, and in the late fall, when they were encamped near Corinth. Hunt's brief entries provide interesting anecdotes about life in the Union camps, soldiers' amusements, and the scene near Corinth.
The Miscellaneous series consists of two photographs (a staged family portrait and a carte-de-visite of a young well dressed man), an army pass for John R. Hunt (February 1862), and three programs concerning the Delta Kappa Epsilon fraternity (1862-1863).
85 items
2 linear feet
The Hoit Family Papers are made up of 965 letters; 21 diaries, account books, and notebooks; 11 speeches, poems, and other writings; 49 documents and financial papers; six photographs, and other items related to New Hampshire state legislator Daniel Hoit (1778-1859) and Sally Hoit (1786-1837); their children Julia Maria, Eliza Flanders, portrait painter and artist Albert Gallatin, and Reverend William Henry Harrison Hoit; and their children-in-law Ira A. Bean, Susan Ann Hanson Hoit, and Enoch P. Sherman. The family lived primarily in Sandwich, New Hampshire.
The Correspondence Series contains 965 letters, including 39 by Sarah "Sally" Flanders / Sarah "Sally" Flanders Hoit, dating between December 3, 1803, and January 30, 1837. She wrote largely from Loudon and Sandwich, New Hampshire. In her courtship letters to Daniel Hoit, she offered her thoughts on marriage, the state of their relationship, the future, virtue, and remarks on living a good life. After their marriage, the topics of her correspondence turned to the health and welfare of their family. To her daughters Eliza and Julia she gave motherly advice while they attended a female academy in Concord, New Hampshire (beginning in 1822).
Sally Flanders's husband Daniel Hoit authored around 300 letters from June 6, 1808, to June 19, 1859. He sent over half of them to his wife, Sally Hoit (between 1808 and 1835), and his daughters Julia Hoit Sherman (between 1821 and 1859) and Eliza Hoit Bean (between 1822 and 1856). In them, he showed concern for the education and welfare of his children and family, and advised his wife on home and financial matters. Daniel appears to have had a close relationship with his daughter, Julia. In over 70 letters to her, he reflected on the importance of parenthood and morality; discussed politics, his speeches, elections, and other business matters; and praised her for her academic prowess. To Eliza, he sent 37 letters on the health and welfare of family members and friends. Many of these were co-authored by other Hoit family members. Daniel Hoit's letters include content respecting the state legislature and a small number of items during and after the War of 1812 pertain to recruiting. He remarked twice on local extramarital relationships (June 18, 1815, and June 20, 1830) and attended public Shaker worship in Concord, New Hampshire (June 20, 1814).
The Hoit's oldest child, Eliza Flanders Hoit / Eliza Flanders Hoit Bean, sent 22 letters between April 27, 1822, and September 16, 1859. She wrote the first six letters to her mother and sister while attending school in Concord, New Hampshire, from April to September 1822. The remainder of the letters date from 1836 to 1859, mostly from Urbana, Ohio. These letters focus on the health of friends and family, housework, and her spiritual life. She wrote several travel letters to her father from Ohio, New York, and Pennsylvania. Her husband Ira A. Bean wrote 30 letters, December 30, 1828-December 30, 1863, regarding his business and political endeavors, largely to his father-in-law, Daniel Hoit.
Julia Maria Hoit / Julia Maria Hoit Sherman sent around 110 letters to her mother, father, siblings, and other family members between February 3, 1827, and March 24, 1876. The majority of them originated from Sandwich, New Hampshire. In her often-lengthy correspondence, she discussed fashion, gossip about friends and family, weddings, marriages, clothing, and current events. She was independent and highly opinionated about the social behaviors of those around her. Particularly notable is her criticism of the fashion and diet of the women in Boston (1829). The Hoit Family Papers also contain around 50 political, financial, and property-related letters of her husband, Enoch P. Sherman, dating between June 9, 1828, and February 6, 1843, and around 10 from their son, Daniel H. Sherman between 1849 and 1873.
The Hoit's oldest son Albert Gallatin Hoit / Albert Gallatin Hoyt wrote approximately 110 letters between November 27, 1820, and October 21, 1853. His earliest correspondence, largely to his parents and sisters, covers his time at Effingham Academy, Wolfeborough & Tuftonborough Academy (1825), and Dartmouth College (1826-1829). In 1829, he established a school at Newport, Connecticut, but quickly found himself in debt. Struggling to remedy his plight, he took a trip to Rochester, New York, in 1830, where he decided to embark on a career as a portrait painter. He then wrote from Portland and Bangor, Maine, until 1839 when he settled in Boston with his wife Susan. His letters regard his everyday life, education, career, and relationship with his father. Susan A. Hanson Hoyt, originally of Conway, New Hampshire, wrote approximately 40 letters between March 28, 1837, and February 11, 1873. They focus on health and her daily routine, anxieties about her husband Albert's career as an artist, the art scene in Boston in the early 1840s, and the activities of her husband. Albert traveled a great deal, and stayed in Europe from 1842 to 1844 to paint. Susan also wrote about her stillborn children (i.e. March 30, 1845), concerns over the presidential election of 1844, sewing, dressmaking, and her efforts to learn how to draw. By 1853, she moved to Roxbury, Massachusetts, with her husband. In a series of letters from there, she wrote about the sickness and death of Albert in 1856. She then returned to Conway. In early 1872, she traveled to Minneapolis where she apparently remained.
William Henry Harrison Hoit / William Henry Hoyt's approximately 70 letters date from May 13, 1826, to November 15, 1882. Beginning at around age 11 with letters from school at Wolfborough & Tuftonborough Academy (where he studied along with his brother Albert), informed his parents about his studies and asked them to send books and educational advice. He then wrote to his parents, sisters, and brother-in-law while studying at Dartmouth College (1827-1831). From 1835 to 1836, he sent letters from the Episcopal Theological Seminary in New York, and, by 1838, he settled in to his parish at St. Alban's, Vermont. His conversion from the Episcopal Church to Catholicism in the later 1840s is the subject of a portion of his correspondence. The collection includes three letters by William Hoyt's wife, Anne Deming Hoyt, dated October 6, 1838; March 30, 1856; and July 11, 1867.
The collection's remaining 190 or letters are from almost as many correspondents. They are addressed to members of the Hoit family, particularly Sally, Daniel, Eliza, and Julia, from various members of their extended family and business associates. Updates on deaths, marriages, health, education, and children predominate in the letters by women. Of interest are letters pertinent to Albert Hoyt's debt in the early 1830s and five letters from Julia's niece, Frances Prescott, a teacher in Ellenburg, New York. She briefly remarked on her school and wages (late 1850s).
The Diaries, Account Books, and Notebooks Series includes 10 daily diaries and account books of Daniel Hoit (1814-1817, 1851-1859), one diary by Sally Flanders Hoit (1823, 1830), two diaries of Ira A. Bean (1829-1859), one volume of notes and accounts of Enoch P. Sherman's estate (1843-1849), three sparse diaries and two notebooks by Daniel H. Sherman (1870, 1873, 1878, 1900, and 1918), and one daily diary of Julia M. Hoit Sherman (1884).
The Speeches, Poems, and Other Writings Series includes a poem by William Burleigh to Mr. and Mrs. Hoit (March 4, 1812) a fragment of a verse by Sarah F. Hoit (undated), three essays by Albert G. Hoit (two from his school days and one entitled "Early Recollections" (undated), and a written renewal of vows to God by Julia M. Hoit on her 24th birthday (November 15, 1831). Also present are a temperance address by Ira A. Bean (October 1823), an incomplete address to the Franklin Society (November 1, 1824), and a 4th of July 1834 temperance speech by Daniel Hoit.
The Hoit Family Papers contain 49 Documents, Accounts, and Receipts, dating from [1809?] to 1863. The various financial papers include good documentation of the Hoit children's educational expenses and Albert G. Hoit's expenditures and debts of the later 1820s and early 1830s. Among the documents are Enoch P. Sherman's June 11, 1840, resignation from a colonelcy in the 19th Regiment New Hampshire Militia.
The Photographs Series is made up of seven carte-de-visite photographs, all bearing Civil War era tax stamps. Identified individuals include "Mrs. E. G. Weaver" and "A. J. Church & wife & daughter."
The collection includes two Maps:
The collection also contains 14 Printed Items, among which are The Dairyman’s Daughter (religious tract, 1831), a copy of a bill to extend an 1838 act to grant half-pay and pensions to certain widows (1841), Final Notes on Witchcraft in Massachusetts by George H. Moore (1885), a program for the Semi-Centennial celebration of the New Hampshire Conference Seminary and Female College (1895), The Shepherd of Salisbury Plain, by Mrs. Hannah More, and a children's book Jocko and Minette (1846). See the box and folder listing below for a complete list of the printed materials.
2 linear feet
1 volume
This logbook and journal contains 150 pages, 51 of which are blank and 99 of which contain writing by Marie "Alida" Taber, wife of whaling Captain George Taber. The opening flyleaf features a carte-de-visite photograph of Marie with the inscription "Alida Taber, Long Plain, Massachusetts, U.S.A." During conservation the carte-de-visite was temporarily removed, and the inscription "Elida Taber" was visible on the verso of the card. While most of the printed photographer's advertisement on the card was obscured, its location in New Bedford, Massachusetts, was present. The volume consists of three sections: two whaling expedition logs and a personal journal.
The first section is a daily record of the Brig Magdalene's return voyage from Honolulu to Connecticut carrying whale oil and bone from January 12 to July 4, 1853. During this voyage, the Magdalene went south from Honolulu, through the Pacific Cook Islands, around the southern tip and east coast of South America before making final port in New London, Connecticut, on Independence Day, 1853. Mentioned ports of resupply include Pernambuco, Brazil. All entries begin with "remarks on board" followed by the date, weather conditions, the ships geographic location, steering adjustments, and any crew or ship activities of note. She described riggings, repairs, spotting of other ships or land, and acquisition or removal of cargo and supplies. Most of her entries are structured into 'first' (12pm to 8pm), 'middle' (8pm to 4am) and 'latter' (4am to 12pm) parts of the day. Some entries include remarks on porpoises caught and harvested for oil, supplies thrown overboard, and processing of whalebone.
Her logbook entries largely conform to the following format:
Upper left margin: Number of days out
"Remarks on board" [Day of Week, Month, Date, Year]
[Part of the day]: wind strength and direction, weather conditions, sail and/or steering adjustments and sightings/activities of note
Bottom right corner: Latitude and Longitude coordinates
While most of the navigational and weather condition data recorded stayed largely consistent, she specifically mentioned ocean currents on April 13 and 14, 1853 (95 and 96 days out).
Since this voyage was a return trip from a whaling expedition, Taber did not mention whale pursuits or captures; the ship was already full of oil and bone. Although, during the latter entries the crew brought whalebone and oil to the deck to clean, bundle, and prepare the products for market. On May 17, 1853 (117 days out), for example, she wrote that they "Took on deck 22 bundles of bone, some in a damaged state."
The crew captured and processed porpoises on this leg of the voyage to provide lamp oil. Mentions of these porpoise captures can be found in the following entries.
As the Magdalene sailed closer to the eastern coast of South America and the United States, ship sightings became more frequent. These entries include:
Other entries of interest include:
The second section of the logbook contains Marie Taber's journal entries from January 1 to August 15, 1859. While Captain Taber was away on the Barque William Wilson, which left Warren, Rhode Island, in October 1857, Marie described her daily activities in Acushnet, Massachusetts, as well as detailed listings of her social activities. The largest portions of these entries list the names of whom she spoke with in person and through letters that day. The most common activities mentioned in these entries include sewing, cooking, baking, shopping, writing letters, and reading. Frequently she spent her days mending, cutting, quilting, and sewing garments for herself, family, and friends. Holding true to her logkeeping skills, she commented daily on the weather and wind, often noting specific wind direction and general conditions throughout the day. Marie noted births, deaths, weddings, and activities such as the circus, church events, and holidays. Marie often wrote of feeling weak or ill and complained of headaches, backaches, and stomach pains. In the latter portions of the journal, Marie's entries took on a more personal tone as she described her loneliness and sadness about town gossip about her--even among her husband's family. In these entries, she expressed her reliance on Christian faith to help her cope with illness and the emotional toll of being far away from home and from her own friends and family. The journal section provides insight into the events and residents of the community of Acushnet, Massachusetts, and the broader community of Bristol County.
The third section of the volume contains a daily record of the whaling voyage of Barque William Wilson, traveling off Rodrigues Island, from May 27, 1860, to January 5, 1861. Marie began the log about 2 years and 6 months into the whaling voyage (the complete voyage spanned October 1857 to January 1861). The log is of a similar format as that of the Brig Magdalene, but fewer entries contain specific latitude and longitude coordinates and it lacks a running count of the days passed since the voyage began. As in Mrs. Taber's earlier log, entries include weather conditions, wind direction, sail and steering adjustments, ships spotted, and specific activities. Days on which whale captures were attempted and successful are marked with black ink whale body stamps, the number of stamps equaling the number of whales killed. Instances where whales evaded capture are indicated with black ink tail stamps. Processing of the whales into product is described with phrases "employed boiling", "employed cutting", and "commenced cutting." These entries frequently made note of the vessel's specific distance from land or other ships and listed many of the ships spotted and communicated with by name.
Vessels mentioned include:
At the beginning of this log, Marie wrote with a slightly more personal tone, including information about her general feelings of wellbeing, or feeling unwell (entries dated May 27 and 28, 1860). Generally, the entries in the first portion of this log (July-early October, 1860) emphasize the frantic chase and hunting of whales. Many entries refer to sightings of whales by species and note that when nothing was seen, they were actively "looking for whales." The latter half of the log (mid October 1860 to early January 1861) focuses on the goal of returning with the whale products. Most of these entries emphasize wind and sail orientation, navigation, and reading important geographic landmarks. On the return voyage ship maintenance was a priority and the crew painted and repaired parts of the ship.
Stamps indicating whale captures and escapes can be found in the following entries:
This volume also contains the following:
In addition to this finding aid, the Clements Library has created a partial name index for the journal portion of the Taber journal: Partial Name Index .
1 volume
2.25 cubic feet (in 5 boxes)
This collection consists of the family papers of Leonard E. and Louise A. Plachta, providing a personal view into their childhoods, university experiences, married life and relationship with each other, friends, and relatives through their correspondence, and careers, mainly in Detroit and Mount Pleasant, Michigan. While most of the collection is in English, some correspondence, stories, family history and vital records, and school grades are in Polish. The collection is organized by creator and then alphabetically by topic and, finally, chronologically. Physically, the collection is in very good condition. Boxes 1-4 are letter-size .5 cubic foot and Box 5 is a letter-size .25 cubic foot box.
The Papers of Leonard E. Plachta:
The Papers of Leonard E. Plachta (in Boxes 1-3) includes his family history with family tree information, and his elementary grades (some in Polish) and high school grades and activities, such as childhood photographs and his Safety Patrol Pledge, Grade 7-8. His university materials included applications, in which he wrote about his hopes, dreams, interests, and lack of parental support to pursue a college degree. His university degrees and related commencement materials are included. There is one folder each of material documenting his wedding to Louise, and another his army training. We see some of his personal relationships with each other and family in Correspondence, from Leonard to Louise,; and in Correspondence, Personal to Leonard, Leonard and Louise.
The majority of his papers focuses his career at Central Michigan University (CMU His Annual Personal Data Report (Academic Accomplishments), are annual reports of his professorial academic accomplishments in the Business School. When he became Dean of the CMU Business School he wrote Some Thoughts on Becoming Dean of the School of Business Administration at CMU]. Photographs of Dean Plachta with students, other CMU faculty and administrators, and when he attended the Small Business Institute Award Dinners also document his time as dean.
Most of the CMU material is from his tenure as CMU president. When he became Interim President he received numerous congratulatory notes. Those retained in the collection are from CMU and Mount Pleasant people, among them former CMU Presidents Harold Abel and William B. Boyd, presidents of other universities, and Michigan politicians and businessmen. Other materials documenting his tenure as CMU president include: CMU Agreement with Universidad Autonoma de Guadalajara (student exchange program established), 1993; a Caricature by Paco; CMU Correspondence, Thank yous for Hospitality to Leonard and Louise from Alumni Class 1947 for their 50th Reunion; an invitation to the CMU Robert and Marjorie Griffin Endowed Chair in American Government Celebration Dinner; Morning Sun Interview Materials; Photographs in the collection document Awards and Recognition Events, one with Governor Jennifer Granholm, Commencements, 1992-1995, 1997; Groundbreaking, Official Building Openings and other events, Homecoming, 1995 and 1997; Students, Alums; and international visits to Villa Bosch, a conference center, in Heidelberg, Germany, and the Tatsuzawa Educational Establishments (Morioka Chou Senior High School),a preeminent private high school, in Morioka, Iwate Prefecture, Japan. Demands for his resignation in 1998 are documented in the folder labeled CMU Students Demand Plachta’s Resignation.
His retirement and honors received afterwards are documented by Awards and Certificates, Leonard and Louise together; CMU Correspondence, Congratulations Upon His Retirement; CMU Plachta Day, Dinner Invitation; CMU President Mike Rao, Goals, Strategic Plans, Correspondence. Certificates and awards, newspaper clippings, plaques, and CMU Correspondence- General span his entire career or entire life. There is one folder of materials from the semester he taught at Michigan State University. An overall view about him is provided by his obituary and self-generated biographical materials.
The Papers of Louise Plachta:
The Papers of Louise Plachta (in Boxes 4-5) document her family history in copies of her parents’ vital records, stories, and correspondence (some in Polish from her mother and other relatives), and secondary education with childhood elementary grades (some in Polish) and high school grades and class anniversary materials. Her University of Detroit materials include her degree. The one folder of their wedding material is filed under Leonard’s name. Her writing is documented in her English papers, Correspondence, and Stories, h Interview materials, Articles, and Speeches. Materials specifically related to her time at CMU include: Caricature by Paco, Brent Wisher; Certificates; her CMU Master of Arts Degree in Case; CMU Plachta Scholarships and Awards Materials; Identity Cards; her unofficial Correspondence, re: Leonard Resigning; all but one of her English papers; most of her Photographs and CMU Photo Identity Card; ‘Robert Frost and the rural’ CMU Bohannon Schoolhouse, Program, and Photographs; and two plaques. An overview of her life is found in her photographs, resume, and obituary.
Researchers may also be interested in the official CMU Office of the President Papers of Leonard E. Plachta, which are administrative in nature. For more detail please see that finding aid. Additional materials about both Plachtas may be found in multiple manuscript collections in the Clarke, especially those related to public relations, as well as digitized CMU publications. A copy of his 1964 dissertation, A search for a proper accounting for the issuance of stock dividends, is also available in the Clarke.
Processing Note: Approximately 1 cubic foot of materials were removed from the collection during processing including: miscellaneous financial information, pay raise requests, benefits information, letters of recommendation, generic travel mementos, generic correspondence, information with social security numbers, unidentified photographs, CMU publications (duplicates) and acidic materials, mainly newspaper clippings (copies were retained). Material of a more personal nature were returned to the donor as per the donor agreement.
2.25 cubic feet (in 5 boxes)