Rain-in-the-Face 'Iromagaja'. The first photograph of Rain-in-the-Face, taken shortly before his arrest and incarceration at Fort Lincoln in 1874. He was one of the leaders during the Fetterman disaster of 1866, the worst defeat the U.S. Army had suffered on the frontier up to that time. His prowess as a warrior continued throughout the Sioux Wars. Wounded and lamed during the fight, he led his band against Custer, and later followed Sitting Bull into exile in Canada. Rain-in-the-Face and his followers surrendered to General Miles at Fort Keogh, Montana, in September of 1880. (Harbaugh, P., 1982)
Chief Joseph 'Hanmaton Talatkit' (ca. 1832-1904). By the close of 1876 the Sioux had been pacified enough that Manifest Destiny could focus her attention and Gatling guns on the Nez Perce of Oregon and Washington where gold had been discovered. Although he had always advocated coexistence with the white man, Chief Joseph was forced from his native home into a three-month, 1300 mile flight through what are today four states and twice across the Rocky Mountains, defeating the U.S. Army in seven major battles. He came within forty miles of sanctuary, the Canadian border, where he envisioned joining Sitting Bull and his exiled people, when his sick and starving band was overtaken by General Miles and one-armed General O.O. Howard. Joseph surrendered October 5, 1877. General Miles agreed to return the Nez Perce to the west; instead, they were sent to Indian Territory. Joseph was so successful a military leader and so influential a tribal leader that he was never allowed to return to his homeland and people. It was said that upon Joseph's exiled death in September of 1904, the agency doctor identified the cause of death as 'broken heart'. (Harbaugh, P., 1982)
The first photo of the famed Hunkpapa war chief, taken at Fort Buford, D.T. shortly after his surrender to major Guido Ilges, Fifth Infantry, following a short fight near the Poplar Camp Post, January 2, 1881. Four years earlier, in the valley of Little Bighorn, it was Gall, Sitting Bull's lieutenant and war chief, who rallied to meet Reno's initial charge and quickly turned it into a devastating retreat. Gall later crossed the Little Bighorn River and led the Sioux to triumph over Custer's contingent of the Seventh Cavalry. (Harbaugh, P., 1982)
Low Dog 'Xunka Kuciyedon' (b.1846) This respected warrior became a war chief at age 14. In January of 1876, Low Dog and his band joined a party of Northern Cheyenne at the Red Cloud Agency and planned to hunt in the Powder River County. In March of that year, Low Dog's people set up camp with a large non-agency band of Northern Cheyenne and a few Oglala Sioux near the union of the Little Powder and Powder River. On Saint Patrick's day this sleeping village was attacked and destroyed by Colonel J.J. Reynolds. During the night of March 17th the Indians managed to recapture their horses. Without provisions the mixed band traveled northward to join Crazy Horse and later Sitting Bull on the Little Bighorn, where Low Dog led his people against Custer and the 7th Cavalry. Low Dog's account of the battle was published many times. (Harbaugh, P., 1982)
Crow King 'Kangi Yatapi'. As a prisoner of war, Crow King posed for this picture in Barry's studio at Fort Buford, D.T., in the winter of 1881. During the battle of Little Bighorn, Crow King and his band of 80 warriors attacked Custer from the south, allowing Crazy Horse and Gall to encircle the doomed 7th Cavalry. (Harbaugh, P., 1982)
Gall 'Pizi' (ca. 1838-1895). A wise, fearless, and successful war chief, Gall was Sitting Bull's adopted brother and one of the few Indians for which the army offered a bounty. While visiting Fort Berthold, D.T., Gall was discovered and bayoneted by soldiers. Assumed to be dead, his body was abandoned by those in his camp, and in the bitter cold of a Dakota winter night Gall staggered some 20 miles in search of aid. Stabbed through his neck, belly and abdomen, it was nearly a year before he recovered completely. Gall poses, painted as if for battle, in Barry's Ford Buffalo studio shortly before he was sent to the Standing Rock Agency. (Harbaugh, P., 1982)
Sitting Bull made only one tour with the Wild West Show, declining other invitations feeling his presence was needed by his followers at the Standing Rock Agency. This photograph was known to have been taken by David Notman, son of the premier Canadian photographer William Notman, during the summer of 1885. Barry likely obtained this copy of the negative from Notman himself. (Harbaugh, P., 1982)
Dimensions
15 X 10.5 cm
Size Overall
51 X 41 cm
Medium
Black and white photograph
Condition
Severe bowing back of both vertical edges away from mat.
Only weeks after they had been ordered by Agent McLaughlin (center) to arrest Sitting Bull as an attempt to calm the growing unrest from the Messiah Craze (Ghost Dance), the Sioux police pose victoriously for Barry's camera. The arrest attempt was disastrous, resulting in the deaths of six Indian police, Sitting Bull, his son Crow Foot and eight of Crow's followers. The panic which followed culminated in the infamous Wounded Knee affair two weeks later. Red Tomahawk (front center) killed Sitting Bull. (Harbaugh, P., 1982)
Following the travesty at Wounded Knee and the killing of Sitting Bull, Bull's followers and family found themselves outcasts within their own tribe as others feared the possible repercussions for collaborating with those who had refused to submit to the white man. This photograph shows one of the few ways Bull's family could now find to support themselves, a form of degrading prostitution performed before the camera. Bull's two surviving widows have cut their hair short as an expression of sorrow and grief in his death. (Harbaugh, P., 1982)
Dimensions
23 X 18.5 cm
Size Overall
51 X 41 cm
Medium
Black and white photograph
Condition
"Severe bowing back of both vertical edges away from mat. The tension holders on the back, which keep the back board snug, are coming loose."
Red Cloud 'Makpiya-luta'. As a non-hereditary chief, Red Cloud became the most successful war leader of the Cheyenne and Sioux during the 1860's and the Indians' campaign to close the Bozeman Trail and keep the Powder River inviolate. The Sioux were victorious and with the signing of the Fort Laramic treaty in 1868 the army abandoned her forts within the Dakota's hunting grounds. Thus Red Cloud became one of the few Indians ever to win an armed conflict against the U.S. Army. (Harbaugh, P., 1982)
American Horse 'Wasechum Taschunka' (1840-1908). 'Wasechum Taschunka' took on the name American Horse following the death of his uncle ate the Battle of Slim Buttes. During the reservation days, he was considered a notable progressive and became a head Oglala spokesman. As an orator and diplomat, he represented his people in numerous negotiations with the federal government. Following the tragedy of Wounded Knee he became the leader of a unified Sioux delegation which traveled to Washington seeking a more equitable treatment for the Sioux. In his later years he traveled with Buffalo Bill and the Wild West Show. (Harbaugh, P., 1982)
Jack Shadbolt was born in Shoeburyness, England in 1909. His home in Canada is Vancouver; Shadbolt also resided in New York and Southern France for prolonged periods of time. After his stay at the Mediterranean, Shadbolt's palette lightened and his medium changed to oil. His work became abstract, mosaic-like, creating architectonic vision by splitting color. Shadbolt is considered one of Canada's most important abstract artists. (The Crisis of Abstraction in Canada. Denise Lecler. P.178-9). Jack Shadbolt taught at the Vancouver School of Art and, before his retirement in 1966, was a catalyst for West Coast art as a teacher, lecturer and writer. 'Rocks' is one of the artist's earlier pieces - representational in subject matter and executed in watercolor, his first medium. (1996 inventory)
James (Jock) W. G. MacDonald was born in Thurso, Scotland in 1867. He studied at Edinburgh College of Art, and later worked as a fabric designer. He taught at Lincoln School of Art; Vancouver School of Art; School of Decorative and Applied Arts, Vancouver; Provincial Institute of Technology and Art, Calgary; and at Ontario College of Art after 1947. MacDonald was a member of Canadian Group of Painters and Painters Eleven. He died in Toronto in 1960. The artist was conducting independent experiments in Vancouver while the others worked in Winnipeg and Toronto. He had painted 'automatics' by 1934 and completely abstract or non-objective works by 1935 or 1936. (Painting in Canada: A History. Harper J. Russel. U of Toronto Press, 1977. P 327) Jock MacDonald was one of Canada's first painters to explore the relationship between abstraction and landscape. What MacDonald did is take the formal qualities of his subjects and isolate or abstract them form the landscape. (The History of Painting in Canada. Barry Lord. Toronto: NC Press, 1974. P 205-7)
Dimensions
23.5 X 33.5 cm
Size Overall
45 X 52.5 cm
Medium
watercolor
Condition
Slight cockling of surface.
Primary Support
paper
Secondary Support
mat, plexiglass, backing board; frame - wood and plaster with gild
Mrs. Busch is a long-time resident of Shellmouth, Manitoba, where her husband operated a general store for many years (shown in the painting). They live (1965) above the former store. (1969 inventory)
Inscription on back: "Nicolet was commissioned to do a series of western scenes for Canada House NY, by the NY Canadian Club. This was a preliminary work done for submission to Canadian Club jurors prior to undertaking his final commission."
Arthur Lismer (1885-1969) was born in Sheffield, Yorkshire, England, in a family of six children. He studied art extensively in Europe before coming to Canada. In Toronto, he first worked in the Grip Engraving Company with J.E.H. MacDonald and Tom Thomson. He exhibited with the Group of Seven since their first show at the Ontario Art Gallery in 1920. Besides his career as an artist, Lismer held important offices as an art educator (Director of the Victoria School of At and Design, Vice-Principal of the Ontario College of Art). He promoted visual art education for children, soldiers, sailors, handicapped people; he was one of the cofounders of the Art Centre for Children. The artist participated in Art Education conferences all around the world. (A Dictionary of Canadian Artists; Colin S. MacDonald. Canadian paperbacks LTS, 1991. P.860-66) The Group of Seven: "The goals of the artists who would form the Group of Seven in 1920 were idealistic and nationalistic in intent... They set out to throw off the colonial attitude which denigrated all Canadian creative ventures and slavishly imitated worshipped all things British or European...The rough wildness of the landscape, its raw, dramatic austerity, coupled with breathtaking color and light, spoke far more directly of Canada for these artists than anything to be found in the cities or settled areas. For them the north, a constant motif in earlier discussions of Canadian identity, found its first expression in the rocks, burnt land, trees, color, and light of Algonquin park... Like other major art innovators, the Group were united in their intent and cooperative action, and together they were remarkably effective in promulgating their vision across Canada and internationally." (Charles C. Hill: The Group of Seven, Art for a Nation. The Canadian Publishers, 1995. P.15-33)
Dimensions
40 X 50 cm
Size Overall
53 X 62.5 cm
Medium
oil
Condition
Frame has minor scratches on right and left arms.
Primary Support
canvas
Secondary Support
frame - wood
Inscriptions
Inscription: A gift of the teacher training classes of Brandon College, 1955-65.
