• Donald C. & Elizabeth M. Dickinson Research Center
• Archive & Finding Aids
| Introduction Biography Scope & Content Note Subject Terms Processing Information Ownership & Literary Rights Restrictions on Access Preferred Citation |
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Series 1, J. E. Jones
Series 2, Cheyenne River Agency
Series 3, San Carlos Agency
Series 4, Fort Belknap Agency
Images
GUIDE to the
J. E. JONES PHOTOGRAPHIC ALBUM, circa 1904
J. E. JONES. Photographic album, circa 1904.
0.2 cubic feet (1 flat box).
Location: 0316.
Introduction:
Photographic album with 45 photographs by J. E. Jones, whose images document the Sioux Indians at the Cheyenne River Agency in South Dakota, the Assiniboine and Gros Ventre Indians at the Fort Belknap Agency in Montana, and the Western Apache Indians at the San Carlos Agency in Arizona. The photographs show both the natural and built landscape of the agencies, but the primary focus of the collection is the lifeways and material culture of Apache, Assiniboine, Gros Ventre, and Sioux Indians. Collection highlights include a group of 10 images taken during a July 4th celebration, showing a variety of Indian dances including the Assiniboine Fool Society dance, a group portrait of 16 Apache police officers, and many individual and group portraits of persons from the Apache, Assiniboine, and Gros Ventre tribes dressed in traditional clothing.
Biography:
Not much is yet known about J. E. Jones, the creator of these photographic images. The physical appearance of Mr. Jones is known. Inside the front cover of the album is a signed portrait photograph of J. E. Jones; he also appears in one other collection image. At some point Mr. Jones gave 29 photographs taken at the San Carlos Apache Agency to anthropologist Pliny E. Goddard. These photographs may be related to the San Carlos images in this collection. The Goddard photographs are in the collection of the Phoebe A. Hearst Museum of Anthropology. This is all that is known with certainty.
While his exact title or position is not known, J. E. Jones clearly was a government employee of some sort, perhaps with the Office of Indian Affairs. His ability to compel so many Native Americans to pose singly and in groups, often dressed in traditional clothing, suggests Jones had a measure of authority over the persons he was photographing. Also arguing for Jones’ identity as a government official is the fact that these photographs were taken exclusively at Indian agencies, and in diverse geographical areas (Arizona, Montana, and South Dakota). In one case, Jones made at least two visits to the same agency—one in the summer, the other in the winter. The organization of the album also argues in favor of Jones’ identity as an Office of Indian Affairs official. Jones begins each agency section with one or more photographs documenting agency buildings. images of this type would probably be of more interest to a government official than a tourist or anthropological researcher.
Scope and Content:
Photographs in the collection are affixed to the album pages. The album has been retained in its original order and accession numbers have been assigned based on that order. Jones’ original arrangement of album images is in four series, J. E. Jones, Cheyenne River Agency, San Carlos Agency, and Fort Belknap Agency.
The collection consists of 45 silver gelatin prints, 44 5 x 7 inch prints and one 5 x 3.5 inch print, mounted in an album manufactured by the Heinn Specialty Co. of Milwaukee, Wisconsin. Each album page has a typed paper label identifying the photograph on that page. In the container list, where Jones uses the word “squaw” in his original labels the words “woman” or “female” have been substituted; the text in brackets has been added to provide additional details about the content of some photographs. Additional information about each photograph is also available in the Research Center database. Neither the photographs nor the album is dated, but based on internal evidence, the collection has been dated to circa 1904.
One photograph is a portrait of Jones; 10 photographs document agency buildings, landscapes, and other agency scenes; and 34 photographs document the lifeways and material culture of the Sioux, Western Apache, Assiniboine, and Gros Ventre or Astina Indian tribes. The portrait photograph of Jones was taken in a photographic studio, while the other collection photographs were taken in the field at the Cheyenne River, San Carlos, and Fort Belknap Indian agencies. The overall quality of the photography is very high. The photographs are well composed and taken with an eye to ethnographic details.
The condition of the photographs and the album is very good. Several prints have creased corners. Some text labels are partially detached, but all are intact. A few photographs have light areas, but these seem to be artifacts of the original processing and printing rather than evidence of deterioration. The album cover has some areas of light abrasion, especially at the corners and edges; the page hinges are very strong.
J. E. Jones (ca. 1904) series consists of a single photograph, a formal portrait of J. E. Jones taken by an unknown photographic studio.
Cheyenne River Agency (ca. 1904) series includes two photographs, an image of the extensive building complex that comprised the agency, shot from across the Missouri River, and a photograph of a group of Sioux men and women waiting for rations outside an agency building.
San Carlos Agency (ca. 1904) series consists of 16 photographs taken on the San Carlos Indian Agency in Arizona, which served the Western Apache Indians. As with the Cheyenne River and Fort Belknap series, an establishing photograph shows the agency buildings and surrounding landscape. Notable photographs include images of a prospector with a large string of burros used as pack animals, J. E. Jones posed next to an extremely tall saguaro cactus, and several views of Apache wickiups.
Most images in the series are individual and group portraits. Women and children pose in front of wickiups and adobe buildings in both everyday and traditional clothing. Some women are wearing silver jewelry and two young women have had their faces painted. A mother with her baby in an Apache cradleboard is also shown. One photograph shows a multigenerational Apache family scene in which the husband is using a one-bow Apache fiddle and the wife is weaving a basket. A fine example of her basketry sits next to her on a stool. Another image shows a small group of Apache men and women gambling while sitting on a blanket; all three men are wearing gun belts. Two Model 1890 Remington Single-Action Army revolvers can be seen in the photograph. Finally, there is a photograph of 16 Apache police officers posed in front of the jail. Some officers are wearing badges, and most are holding Model 1884 Springfield “trapdoor” carbines.
Fort Belknap Agency (ca. 1904) series is the largest in the collection with 26 photographs, primarily documenting the Assiniboine and Gros Ventre (or Atsina) Indians who are residents of the agency. The photographs fall into four subseries: scenes of the agency and environs, images of a large July 4th celebration, portraits, and cemeteries. images of the agency include a photograph of agency buildings in winter, a dam on the Milk River near the agency, a government operated sawmill with tipis nearby, and the Catholic St. Paul’s Mission with the church, school, and outbuildings visible in the photograph.
Collection highlights are the 10 photographs taken during a July 4th celebration held at the agency. These photographs, very reminiscent of the Sumner W. Matteson photographs of Fort Belknap now at the Field Museum in Chicago, show large groups of Assiniboine and Gros Ventre men and women in traditional clothing, American flags flying, and several views of the tent where the medicine dance was held. Two photographs are especially significant. First, is an extremely rare view of the Assiniboine Fool Society dance, during which hooded members of the Fool Society (a men’s society) speak backwards in imitation of Inktomi the trickster, butcher a buffalo or cow, and spray blood and bits of meat on those in attendance. The image shows 10 hooded Fool Society members standing in a group. Second, is a photograph taken inside the medicine dance tent showing painted participants behind a screen of boughs. Also behind the screen is what appears to be an effigy.
Eight photographic portraits of groups and individuals, some named, comprise the next subseries. Included is a photograph of a large group of Gros Ventre Catholic communicants standing on the steps of the St. Paul’s Mission Church with their priest; several Assiniboine men and women posed in traditional clothing; an elderly man identified as Gros Ventre, but who, based on his clothing, may be a member of the Assiniboine Fool Society; and an iconic portrait of a man identified as George Rustler, who is dressed in traditional clothing, and holds a peace pipe, feather fan, and furled American flag. He is also wearing a badge that says “Judge” and what appears to be a Theodore Roosevelt for President campaign button. The final two photographs are of Gros Ventre and Assiniboine cemeteries at the agency. The Gros Ventre cemetery photograph features a tree interment, and the Assiniboine cemetery photograph shows a jumble of aboveground caskets and some exposed human skeletal remains.
Subject Terms:
Personal Names:
Enemy Boy
Jones, J. E.
Rustler, George
Tall Youth, Mrs.
Corporate Names:
United States-Office of Indian Affairs-Cheyenne Agency
United States-Office of Indian Affairs-Fort Belknap Agency
United States-Office of Indian Affairs-San Carlos Agency
Subject Headings:
Apache Indians-Gambling
Apache Indians-Jewelry
Apache Indians-Music
Assiniboine Indians-Montana
Assiniboine Indians-Rites and ceremonies
Atsina Indians-Montana
Atsina Indians-Rites and ceremonies
Cemeteries-Montana-Fort Belknap Agency
Cradleboards
Dams-Montana
Deserts-Arizona
Group portraits
Headgear
Indian baskets
Indian blankets
Indian dance
Indian reservation police-Arizona
Indian reservation police-Montana
Indians of North America-Clothing
Pack animals
Photographers-West (U.S.)
Photographs
Portrait photographs
Remington pistols
Siouan Indians-South Dakota
Tipis
United States-Flags
Western Apache Indians-Arizona
Wickiups
Processing Note:
The collection was purchased in July 2004 and processed by Jonathan Nelson in July 2004.
Ownership and Literary Rights:
The J. E. Jones Photographic Album is the property of the Donald C. & Elizabeth M. Dickinson Research Center, National Cowboy & Western Heritage Museum. Literary right, including copyright, belongs to the National Cowboy & Western Heritage Museum, with the exception of copyrighted artwork images and published literary works, which are the property of the respective copyright holders. It is the responsibility of the researcher, and his/her publisher, to obtain publishing permission from individuals pictured, relevant copyright holders, and the National Cowboy & Western Heritage Museum.
Restrictions on Access:
The collection is open for research. It is advisable for researchers to discuss their proposed research with staff prior to visiting the Center.
Preferred Citation:
J. E. Jones Photographic Album, Accession ##, Dickinson Research Center, National Cowboy & Western Heritage Museum, Oklahoma City, Oklahoma.
| SERIES 1: J. E. JONES, ca. 1904 | |
| ACCESSION NO. | TITLE/DESCRIPTION |
| 2004.165.01 | J. E. Jones [Portrait of J. E. Jones], ca. 1904 |
| SERIES 2: CHEYENNE RIVER AGENCY, SOUTH DAKOTA, ca. 1904 | |
| ACCESSION NO. | TITLE/DESCRIPTION |
| 2004.165.02 | Cheyenne River Agency, S. Dak., ca. 1904 |
| 2004.165.03 | Sioux Indians waiting for rations, Cheyenne River Agency, ca. 1904 |
| SERIES 3: SAN CARLOS AGENCY, ARIZONA, ca. 1904 | |
| ACCESSION NO. | TITLE/DESCRIPTION |
| San Carlos Agency | |
| 2004.165.04 | San Carlos Agency, Arizona, ca. 1904 |
| 2004.165.05 | Prospector's outfit, San Carlos, ca. 1904 |
| 2004.165.06 | Cactus; San Carlos, Arizona; J. E. Jones standing at base, ca. 1904 |
| 2004.165.07 | Gila River, San Carlos, ca. 1904 |
| 2004.165.08 | Apache camp, San Carlos, ca. 1904 |
| 2004.165.09 | Apache home, San Carlos [Wickiup], ca. 1904 |
| Portraits | |
| 2004.165.10 | Apache Indians [Two Apache women and a boy in front of wickiup], ca. 1904 |
| 2004.165.11 | Apache [woman] [Young Apache woman, dress, shawl, silver jewelry, facial painting], ca. 1904 |
| 2004.165.12 | Apache [woman] and baby [Apache woman with baby in Apache cradleboard], ca. 1904 |
| 2004.165.13 | Apache [women] [Two Apache women, fancy dresses, shawls, jewelry, playing cards], ca. 1904 |
| 2004.165.14 | Apache [women] [Two Apache women in dresses in front of wickiup], ca. 1904 |
| 2004.165.15 | Apache [woman] [Apache woman, dress, shawl, silver jewelry, facial painting], ca. 1904 |
| 2004.165.16 | Apache [women] [Six Apache women of various ages, dresses and shawls], ca. 1904 |
| 2004.165.17 | Apache home scene [Apache family group, one-bow Apache fiddle, woven baskets], ca. 1904 |
| 2004.165.18 | Apache Indians [Group of Apache Indians gambling, Model 1890 Remington Single-Action Army revolvers], ca. 1904 |
| 2004.165.19 | Apache police [16 Apache police officers pose in front of the jail, badges, Springfield rifles], ca. 1904 |
| SERIES 4: FORT BELKNAP AGENCY, MONTANA, ca. 1904 | |
| ACCESSION NO. | TITLE/DESCRIPTION |
| Fort Belknap Agency | |
| 2004.165.20 | Fort Belknap Agency, Montana [Agency buildings in winter], ca. 1904 |
| 2004.165.21 | Branding cattle, Fort Belknap [Horses, corrals, tipis, agency buildings], ca. 1904 |
| 2004.165.22 | Dam across Milk River near agency, Fort Belknap, ca. 1904 |
| 2004.165.23 | Peoples Creek Canyon, Fort Belknap reservation, ca. 1904 |
| 2004.165.24 | Government sawmill, Fort Belknap reservation, ca. 1904 |
| 2004.165.25 | St. Paul's Mission, Fort Belknap reservation, ca. 1904 |
| July 4th Celebration | |
| 2004.165.26 | 1200 Indians in camp to celebrate 4th of July [Tipis], ca. 1904 |
| 2004.165.27 | Grosventre Camp [Four Gros Ventre Indians, including one policeman, in front of tipi], ca. 1904 |
| 2004.165.28 | Assiniboin Indians [Assiniboine Indian medicine dance tent with American flags], ca. 1904 |
| 2004.165.29 | Assiniboin [women's] dance [Assiniboine women dance in circle in front of large tent], ca. 1904 |
| 2004.165.30 | Assiniboin & Grosventre star dance, Fort Belknap [Large dance group, American flags], ca. 1904 |
| 2004.165.31 | Grosventre Braves' dance, Fort Belknap [Gros Ventre men dance, others sit on ground], ca. 1904 |
| 2004.165.32 | Assiniboin [female] dance, Fort Belknap [Assiniboine women dance in circle, headdresses], ca. 1904 |
| 2004.165.33 | Assiniboin Indians ready for the dance, Fort Belknap [Assiniboine men seated in a row, knee bells], ca. 1904 |
| 2004.165.34 | Assiniboin Fools' dance, Fort Belknap [Masked Assiniboine Fool Society dancers], ca. 1904 |
| 2004.165.35 | Assiniboin Medicine dance, Fort Belknap [Tent interior with dancers and observers], ca. 1904 |
| Portraits | |
| 2004.165.36 | Grosventre Indians, Catholic communicants, Fort Belknap [Group portrait of Gros Ventre Indians], ca. 1904 |
| 2004.165.37 | Assiniboin Indians, Fort Belknap [Assiniboine family in traditional clothing in front of tipi], ca. 1904 |
| 2004.165.38 | Grosventre Indian, Fort Belknap [Elderly Gros Ventre man with walking staff], ca. 1904 |
| 2004.165.39 | Assiniboin Indians, Fort Belknap [Assiniboine man & woman in traditional clothing], ca. 1904 |
| 2004.165.40 | Assiniboin Indians, Fort Belknap [Two Assiniboine men in traditional clothing, Winchester rifles, headdresses], ca. 1904 |
| 2004.165.41 | Enemy Boy, Assiniboin, Fort Belknap [Assiniboine man in traditional clothing, Winchester rifle], ca. 1904 |
| 2004.165.42 | Mrs. Tall Youth, Assiniboin, Fort Belknap [Assiniboine woman in traditional clothing], ca. 1904 |
| 2004.165.43 | George Rustler, Assiniboin, Fort Belknap [Assiniboine man, flag, peace pipe, feather fan, badge], ca. 1904 |
| Cemeteries | |
| 2004.165.44 | Grosventre cemetery, Fort Belknap reservation [Tree interment, young Gros Ventre boy], ca. 1904 |
| 2004.165.45 | Assiniboin cemetery, Fort Belknap reservation [Aboveground burials with skulls and bones], ca. 1904 |
