Native Americans BARRY, David F. (1854-1934), photographer. Sioux Ghost Dance. Ca 1890s. 7 x 10 in. photograph loosely placed in 10 1/4 x 14 1/4 in. cardstock mat. Image and mat twice blindstamped "Barry." Mat verso with applied paper label for Barry and pencil inscription reading, "Sioux Ghost Dancers." A view capturing Sioux Ghost Dancers at Pine Ridge Reservation in South Dakota. In the late 19th century, the Sioux people began practicing a new religion that grew around prophecies shared first by Paiute men named Wodziwob, Tävibo, and Wovoka. Followers were instructed to perform a dance, later known as the Ghost Dance, which the leaders said would result in the return of land, the resurrection of ancestors, and the end of suffering of their communities under US rule. The US government responded severely to this practice, killing hundreds of Native American Ghost Dancers, including Sitting Bull, at Wounded Knee. This lot is located in Cincinnati.
Native Americans BARRY, David F. (1854-1934), photographer. Chief Joseph. 6 3/8 x 8 3/4 in. unmounted silver gelatin photograph "Copyright by D. F. Barry" blindstamp lower right. A retouched negative, printed from the original in Barry's West Superior, Wisconsin studio, ca. 1900. This lot is located in Cincinnati.
Native Americans BARRY, David F. (1854-1934), photographer. Chief Gall. West Superior, WI: n.d. 10 1/8 x 13 1/8 in. albumen photograph on 10 3/4 x 13 3/4 in. cardstock mount. Title printed on image, copyright printed on mount recto with Barry's West Superior, Wisconsin address. Verso with ink inscription apparently penned by Roland Reed (1864-1934): "To Wm Seymour Compliments D. F. Barry & Roland Reed / Boston Dec. 28th 1894." Normally seen as a cabinet card, this over-sized "panel" style photograph is a format Barry rarely used. We suspect that the photograph was presented by Reed and Barry to noted actor and stage manager William Seymour (1855-1933), perhaps at an exhibition at the Boston Camera Club. Gall is featured with bare legs and torso, his head adorned by a single feather and his body clothed by a simple tunic cloth tied around his waist. He wears moccasins on his feet and a large cross-shaped pendant over his chest. [With:] 5 7/8 x 11 3/4 in. printed informational sheet mounted on modern paper, regarding Chief Gall and featuring a half-tone portrait of D. F. Barry and Chief Rain-in-the-Face along with quotations from General Charles King, Elizabeth Custer, D. F. Barry, and Trentanova. This lot is located in Cincinnati.
[NATIVE AMERICANS]. BARRY, David F. (1854-1934), photographer. Cabinet card of Chief Gall, Hunkpapa Dakota. West Superior, WI, ca late 19th century. Cabinet photograph on cardstock mount (minimal wear). With hand-stamped "Chief Gall" over Barry's West Superior imprint on recto and Chief Gall logo on verso. Gall wears a fringed buckskin coat with fur cuffs and a large trade silver cross around his neck. Chief Gall (ca 1840-1894) was famous for his military efforts in the wars against the US and for his participation in the Battle of Little Bighorn in 1876. This lot is located in Cincinnati.
David F. Barry (1854-1934) "William W. Cooke" Silver Print. Blind-stamped on photograph, along with original studio mount. David Francis Barry was a 19th-century photographer of the American West. Barry traveled throughout the Plains, to Fort Buford and Fort Yates in the Dakotas and Fort Assiniboine in Montana taking photographs as he went. Barry made his name photographing Lakota people notables such as Sitting Bull, Rain-in-the-Face, Gall (Phizi), John Grass and others. The Lakota people nicknamed him "Little Shadow Catcher." Barry returned in 1890 to Wisconsin, where he operated a successful gallery in the city of Superior until his death in 1934. Artist: David F. Barry Title: "William W. Cooke" Medium: Silver Print Site Measurement: 5.5" x 3.5" Image Keywords: Native American, Indian Artwork, Art; Ref: BD1822
David F. Barry (1854-1934) "Chief Gall" Silver Print. Framed with Barry's Superior, WI printed label on reverse. David Francis Barry was a 19th-century photographer of the American West. Barry traveled throughout the Plains, to Fort Buford and Fort Yates in the Dakotas and Fort Assiniboine in Montana taking photographs as he went. Barry made his name photographing Lakota people notables such as Sitting Bull, Rain-in-the-Face, Gall (Phizi), John Grass and others. The Lakota people nicknamed him "Little Shadow Catcher." Barry returned in 1890 to Wisconsin, where he operated a successful gallery in the city of Superior until his death in 1934. Artist: David F. Barry Title: "Chief Gall" Medium: Silver Print Site Measurement: 8.5" x 6" Image Keywords: Native American, Indian Artwork, Art; Ref: BD1822
[NATIVE AMERICANS]. A group of 7 unmounted silver gelatin photographs of Native American subjects, incl. images by David F. BARRY and Hugh L. SCOTT. Ca 1890s. BARRY, David F. (1854-1934), photographer. 2 unmounted silver gelatin photographs, 7 1/2 x 5 1/4 in., or smaller, of Sioux Ghost Dancers at Standing Rock, and a Sioux "War Party" at Standing Rock. Although uncredited, modern penciled notations to verso and accompanying labels indicate that the photographs were taken by Barry. [With:] SCOTT, Hugh L. (1853-1934), photographer. 7 3/4 x 4 1/2 in. unmounted silver gelatin photograph showing a Ghost Dance gathering of the Cheyenne and Arapahoe. Modern penciled notation to verso credits the image to General Hugh L. Scott. After graduating from USMA in 1876, Hugh L. Scott was initially assigned to the 9th Cavalry on 15 June, but transferred to the 7th on June 26, the day the 7th was "depleted" at the Little Bighorn. He saw action over the next two decades against the Sioux, Nez Perce, Cheyenne and many other Western nations. He was charged with suppressing the "Ghost Dance" in 1890-1891, and the following year formed Troop L, composed of Native Americans, especially Kiowa, Comanche and Apache, and commanded the unit until it was mustered out in 1897. During his time in the West, he became an expert in the culture and languages of many peoples. [Also with:] Uncredited 7 1/4 x 4 1/4 in. unmounted silver gelatin photograph showing a group of Kiowa Indians seated together. -- 8 x 6 in. unmounted silver gelatin photograph of a group of Crow warriors posed with American flags, some identified on modern paper label taped to verso, including Medicine Crow, Shows a Fish, Crane in the Sky, Wolf Lies Down, Grey Bull, Old Dog (mounting traces to verso, corner loss to print). -- Uncredited 3 5/8 x 4 3/4 in. snapshot of "Chief Loose Eye" (verso with tape repairs to creases and areas of separation, loss and chipping to edges and corners). -- Uncredited 6 1/8 x 4 1/2 in. copy photograph of several Southern Cheyenne, with modern notation identifying the subjects as Custer's Sweetwater hostages. Together, 7 photographs, most in fair to very good condition with some toning and corner/edge wear to prints. Five include Forrest Fenn's stamp on verso, and several with penciled notes. The Forrest Fenn Collection
Photographs Chiefs Sitting Bull, Gall, and Rain-In-The-Face Rare Composite Native American Sioux Photograph by David Barry c. 1890, Western Photographer David F. Barry, Original 9.25" x 7" Composite Portrait Silver Gelatin Photograph of Native American Sioux Chiefs Sitting Bull, Gall, and Rain-In-The-Face, who led the Lakota Sioux at the Battle of the Little Bighorn, Choice Extremely Fine. Original 1890s Composite Portrait Photograph of; Hunkpapa Lakota Sioux Chiefs and War Leaders Tatanka Iyotake (Sitting Bull), Iromagaja (Rain-In-The-Face) and Phizi (Chief Gall) who's images were taken by the iconic Western Photographer D. F. Barry. This "Art Photo" style Silver Gelatin Photo measures about 9.25" x 7" and carries the Embossed, blind stamped mark of the famous Dakota Territory and Wisconsin photographer David F. Barry. Barry's mark is also embossed in the negative "Copyright By - D. F. Barry." Pictured are the three Sioux Warrior Chiefs who led the Lakota Sioux at the Battle of the Little Bighorn which resulted in the death of George Armstrong Custer and his entire division of the 7th U. S. Cavalry. The three bust portraits are among the most historic portraits of these larger than life Sioux War Leaders taken by David F. Barry. Here, Barry has brought the three portraits together depicting the three proud Warriors side by side against a soft background. This important Composite Portrait Photo with Sitting Bull is clean and crisp and very well preserved. The Photograph exhibits a soft focus (as made), yet strong in contrast and having rich warm tonality. The photographer, David Frances Barry was born near Rochester, New York on March 6, 1854. His family moved west in 1861 to Wisconsin. Around 1870 Barry worked carrying water for an itinerant photographer named O.S. Goff, a relationship that was to be reestablished a few years later. Not much is known of Barry's life from 1870 until Goff hired him in 1878 to help him in his gallery in Bismarck, Dakota Territory. Here, Barry learned the finer points of photography and became Goff's apprentice, business partner, and employee. Between 1878 and 1883, Barry traveled to Fort Buford, Fort Yates, and other forts in the Dakota Territory. He went as far north as Fort Assinnaboine in Montana. For these trips he used a portable photographic studio in which he took most of his portraits. He photographed famous Native American chiefs, warriors, scouts, and women including Sitting Bull, Rain in the Face, Gall, Red Cloud, and Shooting Star. Barry also photographed some of the most important forts and battlefields of the Plains Wars, military officers including General George A. Crook, soldiers, trappers, and pioneers. In 1883 Barry returned to Bismarck where he operated a studio and gallery. He established a friendship with Buffalo Bill Cody and photographed members of his Wild West Show. This photo was likely taken at the Standing Rock Indian Reservation or at Barry's Studio sometime around 1883.
[NATIVE AMERICANS]. A group of 2 cabinet photographs of Chief Gall, Hunkpapa Lakota, comprising: SCOTT, George W. (1854-1910), photographer. Seated portrait of Chief Gall wearing a war shirt and feathered bonnet. Fort Yates, Dakota. Recto with George W. Scott's Fort Yates, Dakota imprint and manuscript identification. -- [BARRY, David F. (1854-1934), photographer]. Copy image of Gall, unmarked but from a photograph originally produced by D.F. Barry, with penciled inscription on verso. -- Together, 2 cabinet cards, 4 x 5 1/2 in. or smaller on cardstock mounts. Condition generally good, with some toning and fading, scattered spotting, and staining to prints and mounts, as well as edge/corner wear to mounts.
After David Francis Barry (1854 - 1934) Three Volume Portfolio of Historic Photographs, 1982 silver gelatin photograph, edition 69 of 150 Vol. 1: Chiefs of the Sioux Wars and the Battle of Little Big Horn Vol. 2: Custer, Prominent Military Structures, and the Men Who Fought the Sioux War Vol. 3: Plains Warriors, Chiefs, Scouts, and Frontier Personalities Limited Edition 69 of 150 Published by Paul Harbaugh in conjunction with the Denver Public Library. Seven years in the making, these portfolios reproduce - as originally printed - exact photographs using the original glass plate negatives of famed photographer D. F. Barry.
David F. Barry (American, 1854-1934). Reproduction photograph of Chief Gall. Inscribed in pen in ornate calligraphy along the mat "Presented to Louis W. Hill by John Burke." Impressed stamps of "Barry" along the mat and photograph; a David Barry label is adhered to the verso. Provenance: Collection of the James J. Hill Reference Library. Certain individuals are prohibited by law to purchase items in this auction. Descendants of James J. Hill within three generations (Great Grandchildren and closer) are not allowed to purchase items. Additionally, board members of the foundation and their families (spouses, children, spouses of children, grandchildren) are also prohibited from purchasing items.
[NATIVE AMERICANS]. BARRY, David F. (1854-1934), photographer. A collection of 51 photographs of Native American subjects, George Armstrong Custer, and personalities and places associated with the Battle of Little Bighorn. 51 photographs, most 9 5/8 x 7 5/8 in. or 6 1/4 x 8 3/8 in. mounted to 13 3/4 x 10 3/4 in. black paper album pages. (A few photos have become loose from mount, not removed from mounts; some chipping to mount edges). With 15 3/8 x 11 1/8 in. steel and flexible cloth board album (front board detached, cloth lacking on spine). All pages disbound from album. 29 of the images with D.F. Barry copyright blind stamp, 1 hand-signed by Barry, 1 hand-signed and with stamp, 20 with no apparent photographer's mark. Each image is captioned in white ink to mount, usually identifying the subject or locale and often with some historical context. A remarkable album of photographs by pioneer photographer David Francis Barry complete with portraits of some of the most significant figures of the late Indian Wars, especially the Battle of LIttle Big Horn, including Chief Rain-in-the-Face, George Armstrong Custer, Chief Gall, Sitting Bull, "Buffalo Bill" Cody, Chief Low Dog, and others. Includes a dual portrait of the photographer himself next to Chief Rain-in-the-Face. Other notable subjects include Sioux war dancers, Reno Hill reenactment, and Fort Abraham Lincoln. Provenance: Attributed to be from the collection of the photographer, David F. Barry. (Accompanying letter states that Barry received a permit to open a post office about 6 miles from Coulee Dam, [Washington] in 1870. The document states, "three years later he sold his place to Sam Stevenson + His Wife, [whose] son Harvey Stevenson is Sandy Robert's Brother in Law. Mrs. Stevenson ran the P.O. for 50 years." The document continues, "And Sandy finds the pictures in this album copyrighted by D. F. Barry." It could not be confirmed independently that Barry founded and ran a post office, however, there is a Barry St. approximately 6 miles from Coulee Dam. And the majority of images are copyrighted by Barry). Complete list of titles (from hand-written captions): Sioux War Dance at Standing Rock. -- Chief Rain-in-the-Face. Sioux. Sitting Bull. Sioux Medicine Man. -- Sioux Indian War Dancers. Ready for the Ghost Dance. -- Sitting Bull Sioux Medicine Man. Col. Wm. F. Cody. "Buffalo Bill." -- Chief Gall. (Hostile). Sioiux. Leader in the Custer Battle. June 25, 1876. -- Grave of Koska, son of Rain-in-the-Face. Sioux. -- David F. Barry. Chief Rain-in-the-Face. Sioux. (6 1/4 x 8 3/8 in.) -- Comanche, only surviving horse of the Custer Fight. June 25, 1876. Capt. Keogh's Horse. (8 3/8 x -- Sioux Burial Place. Standing Rock Reservation. Burial Place of a Chief. -- Monument on the Custer Battlefield. -- Chief Running Antelope - A Sioux Orator. -- Reno Crossing, Little Big Horn River. Location of Indian village in 1876. -- Reno Hill. -- Chief Rain-in-the-Face. Sioux. (Pictured on horseback). -- Wives and daughters of Sitting Bull. "Her Lodge in Sight." "Her Four Robes." "Seen by the Nation." "Standing Holy." -- Curley, General Custer's Scout. A Crow Indian. -- Chief John Grass. Great Orator of the Sioux. -- Chief Low Dog. Chief of Gall's band of Indians. Captured at Poplar River, Montana. Winter, 1880. -- Curley, Crow Scout. (5 x 7 in.) -- Mrs. Elizabeth Custer New York City. 1917. -- Gen. Custer. Killed June 25, 1876, Big Horn River. -- Trumpeter Martin. Delivered Custer's lost orders to Gen. Benteen to bring up pack train. (New York City, 1917.) -- Charles Reynolds. Custer's Scout. -- Fort Abraham Lincoln. Starting-place of Custer Expedition - May 17, 1876. -- Steamer "Far West" Which brought the dead after the Custer fight. -- Major Tom M. McDougall. In command of the Pack train Custer fight. June 25, 1876. -- Skirmish line along the Ridge where Custer dismounted. Taken June 25, 1886. Tenth anniversary of Custer Fight. Gen. Baldwin's company firing. -- Gen. F.W. Benteen. -- Capt. Tom Custer. Killed in Custer Fight with his brother, Gen. Custer. -- Major Reno. -- Sitting Bull - Sioux Medicine Man. -- Winona or Shooting Star. A Sioux Beauty. -- Chief Rain-in-the-Face and his second wife. -- Sioux Indian woman and child, "Black Eyes." -- Stella Botineau. Quarter breed Sioux. -- Chief Crow-King. Took a leaidng part in the Custer Battle. -- Two snapshots of "Buffalo Bill," Col. W.F. Cody. Taken in Muskegon, Michigan. October, 1916. -- Indian Woman at Grave of Child. -- Crowfoot, Sitting Bull's son. Killed with his father. Grand River, S.D. Dec. 15, 1890. -- Chief Gall's wife. -- A few who attended the funeral of Major McLaughlin. Major McLaughlin died in Washington, D.C. July 28, 1923. Buried at McLaughlin, S.D. Age. 81. In U.S. Service 53 years. -- Chief Rain-in-the-Face. Sioux. Cause of the Custer Fight. LIttle Big Horn River. Montana. -- Chief Gall. (Friendly). -- Chief Good Horse. Pine Ridge Sioux. -- Chief Bullhead. Killed Sitting Bull. Dec. 15, 1890. Grand River, South Dakota. -- Spotted Tail - A Sioux "Masher." His failing caused his death. -- Chief Joseph. Leader of the Nez Perce Indians. -- Chief Bullhead. Indian Policeman. -- Chief Blackbird. Chippewa. Odanah Reservation 1915. -- D.F. Barry. "Little Shadow Catcher" Major James McLaughlin. Chief Indian Inspector US Department of Interior. Author of "My Friend the Indians"
Silver gelatin photograph, 6.5 x 8 in. (sight), matted and housed in 8.5 x 12.5 in. folio. D.F. Barry: Superior, WI, ca 1890s. With Barry's blindstamp on the print at center right. Housed in Barry's original presentation folio with blindstamp at right below image and his Superior, WI studio label affixed on verso of folder. Originally taken in the 1880s, the portrait shows Thunder Hawk, a signer of the Sioux Treaty of 1865 at Fort Sully, Dakota Territory, wearing a bone hairpipe breast plate and blanket wrapped around his waist. Provenance: Descended Directly in the Family of Eagle Woman Who All Look At; The Estate of Leo and Margaret Harmon
Barry, David Francis (1854-1934). Autograph letter signed, D.F. Barry, 1p, 8.25 x 11 in., Superior, WI. November 28, 1913. Addressed to Marie Louise Van Solen (1839-1920), on D.F. Barry letterhead.Barry writes to Van Solen inquiring about Louis Paul Primeau at the behest of a cousin: " Some time back a cousin of the Primeau Boys, called to see me, to enquire if I had a photo of the Old Mr. Premeau. I told him I thought Louie, Joe, and the Father were all Dead. He asked me to find out...In 1879 and 1880 he was in Bismarck working for the N.P.R.R. so he tells me." He closes by sending kind regards to Van Solen and her daughter Lucille. Louis Paul Primeau (Lewi tanka, 1854-1903) was born to a white father and Indian mother and used his multiracial heritage to his advantage. He worked as a guide and interpreter at the Standing Rock Agency and was a signer and interpreter of the 1882 treaty. He was also a part of the 1888 Standing Rock Agency delegation to Washington, DC that included Sitting Bull. He was the man who translated the orders for Sitting Bull's arrest into Santee Dakota and led Troops F & G of the 8th Cavalry under Agent James McLaughlin's orders to Sitting Bull's camp.Marie Louise (Picotte) Van Solen was the daughter of Eagle Woman Who All Look At (Wa?blí Ayútepiwi?, 1820-1888), the Lakota diplomat and activist who worked to mediate conflicts between the Sioux and the United States government. She is credited as the only woman recognized as a chief among the Sioux. Provenance: Descended Directly in the Family of Eagle Woman Who All Look At; The Estate of Leo and Margaret Harmon
An important photo (9"x7") of "sitting bull" by D. F. Barry, and a handwritten letter by D. F. Barry and a handwritten receipt by D. F. Barrym dated Nov. 19th, 1931
Western America Rare Native American Sioux Chiefs Sitting Bull, Gall, and Rain-In-The-Face by David Barry Composite Photograph c. 1890, Original Composite Silver Gelatin Photograph of Native American Sioux Chiefs Sitting Bull, Gall and Rain-In-The-Face, by David F. Barry, Choice Extremely Fine. Very rare and original, 1890's Composite Portrait Photograph of; Hunkpapa Lakota Sioux Chiefs and War Leaders Tatanka Iyotake (Sitting Bull), Iromagaja (Rain-In-The-Face) and Phizi (Chief Gall) who's images were taken by the iconic Western Photographer D. F. Barry. This "Art Photo" style Silver Gelatin Photo measures about 9.25" x 7" and carries the Embossed, blind stamped mark of the famous Dakota Territory and Wisconsin photographer David F. Barry. Barry's mark is also embossed in the negative "Copyright By - D. F. Barry." Pictured are the three Sioux Warrior Chiefs who led the Lakota Sioux at the Battle of the Little Bighorn which resulted in the death of George Armstrong Custer and his entire division of the 7th U. S. Cavalry. The three bust portraits are among the most historic portraits of these larger than life Sioux War Leaders taken by David F. Barry. Here, Barry has brought the three portraits together depicting the three proud Warriors side by side against a soft background. This important Composite Portrait Photo with Sitting Bull is clean and crisp and very well preserved. The Photograph exhibits slightly soft focus (as produced), strong in contrast and having rich, warm tonality. The first of this image we have offered. The photographer, David Frances Barry was born near Rochester, New York on March 6, 1854. His family moved west in 1861 to Wisconsin. Around 1870 Barry worked carrying water for an itinerant photographer named O.S. Goff, a relationship that was to be reestablished a few years later. Not much is known of Barry's life from 1870 until Goff hired him in 1878 to help him in his gallery in Bismarck, Dakota Territory. Here, Barry learned the finer points of photography and became Goff's apprentice, business partner, and employee. Between 1878 and 1883, Barry traveled to Fort Buford, Fort Yates, and other forts in the Dakota Territory. He went as far north as Fort Assinnaboine in Montana. For these trips he used a portable photographic studio in which he took most of his portraits. He photographed famous Native American chiefs, warriors, scouts, and women including Sitting Bull, Rain in the Face, Gall, Red Cloud, and Shooting Star. Barry also photographed some of the most important forts and battlefields of the Plains Wars, military officers including General George A. Crook, soldiers, trappers, and pioneers. In 1883 Barry returned to Bismarck where he operated a studio and gallery. He established a friendship with Buffalo Bill Cody and photographed members of his Wild West Show. This photo was likely taken at the Standing Rock Indian Reservation or at Barry's Studio sometime around 1883.
DAVID F. BARRY Joseph, Nez Perce, 1877, 12x7" on 16.6x8.6" light brown paper on 21.5x11.7" dark brown heavy paper. Collodion Silver Print printed 1910s. Verso has D.F. Barry Superior Wisconsin label. ASG# DFB/1123 FRAMED The most famous early portrait of Chief Joseph. Born in Honeoye Falls, N.Y., in 1854, D.F. Barry learned photography from O.S.Goff when Goff was an itinerant photographer operating from Portage, Wisconsin.In 1878, Goff took on Barry as his assistant and Barry managed his studio inBismarck while Goff toured and photographed plains forts. In 1880 Barry set up amobile gallery at Fort Buford, Dakota Territory, and later travelled to many forts,capturing Indians in both portraits and natural settings. By 1884, Barry hadpurchased Goff's Bismarck studio including Goff's own negatives, which Barrylater marketed as his own. Barry moved his studio to Superior, Wisconsin, in1890. He continued to print in his studio into the 1920s with the exception of oneyear when he opened a studio in New York City. He remained in Superior until hisdeath in 1934. Credit https://snaccooperative.org/ark:/99166/w6959gph
D.F. Barry Indian Burial Photographs with ALS Describing the Scenes Lot of 3. Barry, David F. (1854-1934). Renowned photographer of the American West. ALS, 2pp, 8.5 x 11 in., Superior, WI. August 30, 1929. Written on two sheets of printed D.F. Barry stationery and addressed to " Mr. R.S. Ellison" of Casper, WY. Signed lower right, " D.F. Barry." In the letter, Barry acknowledges receipt of Ellison's letter and check for $2.50, and then explains the circumstances of the enclosed photographs: " Regarding the dead Indians, the ones in the trees, taken 1884, in June, I think - near the Grand River, South Dak - the ones burried [sic] on the scaffold - taken South West from Standing Rock Agency - North Dak - taken on the same day. I went expressley [sic] - to get these two pictures - I hired a team - and was guided to the spot - never done for a Sioux to have caught me doing that - I never showed those photos at the agency to any one." Barry then describes how Indians from a camp close by rushed at him and drove him away " before I had a chance to fire - always careful not to do things that would displease them." He concludes, " Chances and hard work getting my collection." Two photographs, 6 x 8 in. (sight), matted to 8.25 x 12.75 in., with " Barry" blindstamp on photograph and mat, lower right, and housed in D.F. Barry folio with printed label reading " D.F. Barry / Photographs of All Noted / Indian Chiefs / Photographer / 13112 Tower Ave. / Superior, Wisconsin" affixed to upper left, and pencil inscription reading " Dead Indians / Sioux" written in Barry's hand to upper right. The first features two trees with branches holding platforms upon which are dead bodies draped in cloth. The second features a burial scaffold in foreground holding aloft several dead bodies wrapped in cloth, and an uncovered tipi frame in background housing what could be additional dead bodies wrapped in cloth.
D.F. Barry Photograph of Chief Fire Cloud with Paintbrush Silver gelatin photograph of Sioux Chief Fire Cloud, approx. 4.5 x 7 in. D.F. Barry: Superior, WI, n.d., ca 1890s or after. With Barry's blindstamp on the print at center left. Housed in Barry's original presentation folder with blindstamp at lower left below image and his Superior, WI studio label affixed on verso of folder. This studio portrait, originally taken on November 11, 1886 at Standing Rock, Dakota Territory, shows " Chief Fire Cloud Who Painted the Standing Rock" as penciled on folder verso, with a paint brush in hand. During a ceremony held at the Standing Rock Agency in November 1886, Fire Cloud was selected from hundreds of chiefs to dedicate the sacred "Standing Rock" to peace and plenty, which included offering prayers and painting the rock.
DF Barry photo print of a monument at the site of Little Big Horn and Custer's last stand. In the top righjt corner, is an inset photo of US Army 2nd Lieutenant James G. Sturgis. Sturgis was the son of Colonel Samuel Davis Sturgis, commander of the 7th Cavalry, at Little Big Horn (under command of Custer). Photo is 6.5" x 8.5" and comes in a photo folder, both of which are marked "BARRY" with impression marks. Cover and flap are separated but present. Photo itself is marked on the back Barry, Sturgis, and captioned. The story from the consignor is that this photo was made after Lt. Sturgis' mother asked to see the spot where her son had died at Little Big Horn, and so cavalrymen, knowing Sturgis had been mutilated by the enemy and buried in a mass grave, constructed a temporary monument for Lt. Sturgis. Excellent
David Francis Barry (1854 - 1934) Sitting Bull, Full-Length albumen cabinet card ca. 1880s verso: VIEWS IN / New Mexico, Arizona, and Old Mexico. / Photographed by WITTICK & SON. / PUBLISHED BY / WITTICK & SON, / ALBUQUERQUE, N.M. Dimensions: 7 3/4 x 4 1/2 inches Framed Dimensions: 11 3/4 x 8 1/2 inches (mat) Provenance: Patricia Janis Broder Collection, New Jersey
Silver gelatin cabinet card of Capt. Thomas M. McDougall, 7th U.S. Cavalry, wearing full dress uniform with sword. Silver inked studio ID to bottom margin: 'BARRY, WEST SUPERIOR, WIS.' Thomas Mower McDougall (1845-1909) served 40 years as an officer in the U.S. Army, beginning with a volunteer enlistment in the Civil War and retiring as a major in 1904. His father, Charles McDougall (1804-1885) was a U.S. Army surgeon with service in the Blackhawk War, Seminole War, and Civil War, which likely helped his son gain a commission as a second lieutenant upon enlistment in the Union Army in 1864. Thomas was assigned to Co. B, 48th U.S. Colored Infantry, and served across the Department of the Gulf, most notably participating in the capture of Fort Blakely on April 9, 1865. He was promoted to captain in the 5th U.S. Volunteer Infantry in the immediate aftermath of the war, and upon the expiration of that regiment was offered a second lieutenant's commission in the regular army. Originally assigned to the 14th U.S. Infantry at Fort Laramie, McDougall was transferred to the 32nd Infantry, 21st Infantry, and ultimately the 7th Cavalry in 1870, and after helping suppress Klan activity in South Carolina, began an 18 year stint in the Dakotas, engaged in many of the notable Indian campaigns. He was in command of Co. B at Little Bighorn, leading the pack train escort, and was engaged in the hilltop fight alongside Major Reno's battalion. This photo was taken by famed western photographer D.F. Barry, known by the native tribes as "The Little Shadow Catcher." He was widely known as one of the pre-eminent photographers of his time and has also been referred to as "The Matthew Brady of the West." He captured images of many famous western personalities, Indians, and landscapes that were soon to vanish from the American Frontier. Photo is archival framed and mounted with brass description plaque. CONDITION: Excellent overall. PROVENANCE: Dr. Frank Wagner cavalry museum collection. Condition: (Excellent). Dimensions: (6.5" H x 4.25" W).
D.F. (David Francis) Barry (American, 1854-1934), Plate 1 "Rain-in-the-Face" (ca. 1885) - 123/150 from Denver Public Library limited 1982 edition; Plate 7 "Long Dog" (date unknown) - 123/150 from Denver Public Library limited 1982 edition; Plate 37 "Wild Horse" (date unknown) - 120/150 from Denver Public Library limited 1982 edition. These photographs were developed from the original glass plate negatives by the Denver Public Library in 1982 by Paul Harbaugh. The images will never again be reproduced, because the library (which has had the Barry negative collection since 1934) retired the use of the original negatives upon completing the 1982 edition. These three photographs are among Barry's encyclopedic ensemble of portraits of Chiefs of the Sioux Wars and the Battle of Little Bighorn. Size: Plate 1 and Plate 7 measure 9.5" L x 7.5" W (24.1 cm x 19 cm); Plate 37 measures 9.375" L x 7.625" W (23.8 cm x 19.4 cm); 20" L x 16" W (50.8 cm x 40.6 cm) including mats Plate I depicts "Rain-in-the-Face", a Hunkpapa war chief best known for his leadership during the Fetterman Massacre, Red Cloud Wars, and the Battle of Little Bighorn. Plate 7 presents "Long Dog" who took part in many battles of the Sioux Wars and was believed to "carry the favorable charm of a ghost which gave him protection and heroic success in war." Finally, Plate 37 depicts "Wild Horse" - an Oglala chief believed to have been either the brother or cousin of Crazy Horse. According to Paul Harbaugh's "The D.F. Barry Negative Collection" statement, "In 1934, the Denver Public Library purchased the negative collection of the late frontier photographer, David Francis Barry Since acquiring the collection of some 1,000 negatives, the library has catalogued the images using what little information Barry provided (mostly pencil-written titles on the emulsion side of the collodion and early dry plate negatives). The uniqueness of these images will never again be reproduced, as the library has contractually agreed to retire from further use the D.F. Barry Collection of original negatives upon completion of this edition. The edition consists of 45 select negatives from the total collection. Each negative is printed 150 times for the present portfolios plus nine times for photographer-artist proofs. These 150 prints from the 45 select negatives comprise the first part of the edition of 300. In the year 2009, the library has consented contractually to allow the printing of the second and final part of the edition Following the 2009 edition, the Barry Negative Collection shall be retired: that is, all original prints ever to be produced from these negatives will have been printed." D.F. Barry was an important frontier photographer of the 19th century. Though born in upstate New York, near Rochester, Barrys family moved West to Wisconsin when he was just seven years old. During his teenage years, Barry apprenticed to O.S. Goff, an itinerant photographer who was a master of the collodion wet plate and had become a photographer of Native Americans as well as the 7th Cavalry. While working for Goff, Barry traveled throughout the frontier and set up temporary studios at military forts where he created photographs of legendary Indians as well as military men. With his photographs of Native American men and women, frontier scouts, trappers, soldiers, forts, and battlefields, Barry created a remarkable visual record of the American West during this period. Barrys relationship with the Sioux who gave him the clever nickname "Little Shadow Catcher" was especially close. His photographs embody a veritable Whos Who list of elite Plains Indians at the close of the 19th century. Many of them, including Rain in the Face featured in this selection, were involved in the Battle of Little Bighorn. Barry also took photographs of the aftermath of Little Bighorn and was the only photographer invited to the tenth anniversary of the Custer Battle, where he photographed the surviving participants who were actually retracing their positions! Provenance: private Colorado, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #134544
D.F. (David Francis) Barry (American, 1854-1934) - D.F. Barry Portfolio: "Custer, Prominent Military Structures, And The Men Who Fought The Sioux Wars" limited edition of 15 photographs. Number 124 in and edition of 150. Published in 1982 as a limited edition by Paul H. Harbaugh and the Denver Public Library, each image identified and authenticated verso. Printed using the original glass plate negative from the David Francis Barry Negative Collection in the Denver Public Library. The portfolio is complete and includes the case. The images will never again be reproduced, because the library (which has had the Barry negative collection since 1934) retired the use of the original negatives upon completing the 1982 edition. Size: portfolio measures 21.375" L x 17.25" W (54.3 cm x 43.8 cm) Verso of the title page states, "Each image in the edition was contact printed using the original glass plate negative from the David Francis Barry Negative Collection acquired by the Denver Public Library, Western History Department in 1934. The Portfolios were designed by Teresa Gabriel Harbaugh. The introductory pages were designed by Howard Klein. Portfolio cases were made by Museum Box Company, Warwick, Rhode Island The Portfolio is number 124 in an edition of 150." The "Introduction" is written by John M. Carroll and presents an informative view of historical interpretations - both written and photographic. Of D.F. Barry he writes, "Examination of the D.F. Barry negative collection shows that Barry loved the military personalities of the day and as the frontier closed he carried on a lengthy correspondence with many. It was to Barry that Captain Frederick Benteen confided so many "truths" aobut the historic personalities within the 7th Cavalry when they met on the Tenth Anniversary of the Little Bighorn at the battleground. It was from McDougall that Barry assumed so many of his personal mannerisms. But the most revealing truth to emerge from all the correspondence with those in the 7th was the stinging realization that D.F. Barry and his art was not appreciated during his lifetime. He was as much a victim of the existing civilization as was the Native American. Barry had to struggle to sell his photographs and to earn a living; today I must struggle just to find and collect his work." He continues, "Now, with this excellent and carefully chosen selection of photographs produced as if in the days of that photographer, we are fortunate to view a somewhat chronological study of the military heroes of yesteryear. The captions which accompany them reveal a story which cannot be rivaled in any other century or in any other place. The selection gives us a magnificent overview of frontier military life, and we are the richer for it." The fifteen D.F. Barry photographs included in this volume are: Plate 16 Custer, Fellow Officers, Their Wives And Friends. Plate 17 Captain Thomas W. Custer (1845-1876). Plate 19 Captain Frederick W. Benteen (1834-1898). Plate 20 First LT. Edwards Godfrey (1843-1932). Plate 21 Captain Thomas McDougall (1845-1909). Plate 22 Charley Reynolds (ca. 1842-1876). Plate 23 Curley, "Ashishishe" (ca. 1859-1923). Plate 24 General Nelson A. Miles, "Bear Coat" (1839-1925). Plate 25 Fort Yates (1874-1903). Plate 26 Custer Battlefield Monument. Plate 27 Reno Hill, Survivors. Plate 28 Custer Hill, Ten Years to the Day. Plate 29 Survivors at Fort Custer. Plate 30 Fort Assinniboine (1879-1911). According to Paul Harbaugh's "The D.F. Barry Negative Collection" statement, "In 1934, the Denver Public Library purchased the negative collection of the late frontier photographer, David Francis Barry Since acquiring the collection of some 1,000 negatives, the library has catalogued the images using what little information Barry provided (mostly pencil-written titles on the emulsion side of the collodion and early dry plate negatives). The uniqueness of these images will never again be reproduced, as the library has contractually agreed to retire from further use the D.F. Barry Collection of original negatives upon completion of this edition. The edition consists of 45 select negatives from the total collection. Each negative is printed 150 times for the present portfolios plus nine times for photographer-artist proofs. These 150 prints from the 45 select negatives comprise the first part of the edition of 300. In the year 2009, the library has consented contractually to allow the printing of the second and final part of the edition Following the 2009 edition, the Barry Negative Collection shall be retired: that is, all original prints ever to be produced from these negatives will have been printed." D.F. Barry was an important frontier photographer of the 19th century. Though born in upstate New York, near Rochester, Barrys family moved West to Wisconsin when he was just seven years old. During his teenage years, Barry apprenticed to O.S. Goff, an itinerant photographer who was a master of the collodion wet plate and had become a photographer of Native Americans as well as the 7th Cavalry. While working for Goff, Barry traveled throughout the frontier and set up temporary studios at military forts where he created photographs of legendary Indians as well as military men. With his photographs of Native American men and women, frontier scouts, trappers, soldiers, forts, and battlefields, Barry created a remarkable visual record of the American West during this period. Barrys relationship with the Sioux who gave him the clever nickname "Little Shadow Catcher" was especially close. His photographs embody a veritable Whos Who list of elite Plains Indians at the close of the 19th century. Barry also took photographs of the aftermath of Little Bighorn and was the only photographer invited to the tenth anniversary of the Custer Battle, where he photographed the surviving participants who were actually retracing their positions! Provenance: private Colorado, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #134538
Western America "PHOTOGRAPHS OF ALL NOTED INDIAN CHIEFS." c. 1870 Business Card of Photographer David F. Barry c. 1870, Photographer David Francis Barry's original Printed Business Card, Choice Crisp Extremely Fine. Original Printed Card measuring 3.25" x 2" for "D. F. Barry, 1300 Broadway, Cor. 34th Street, New York". David F. Barry's Photographer Business Card, with a wonderful illustrated "CHIEF GALL" Portrait at upper left, with text below image that reads, "PHOTOGRAPHS OF ALL NOTED INDIAN CHIEFS." Card lists a New York City address. David Frances Barry (1854-1934) was a photographer based in Bismarck, Dakota Territory, who is most noted for his photographs of famous American Indians. In 1878, he was hired by itinerant photographer O. S. Goff, with whom he eventually partnered. From 1878 to 1883, Barry traversed the Dakota Territory, making many of his most widely known photographs of American Indians, forts and battlefields, military officers, and other people in the region. In 1883, Barry opened a new studio in Bismarck, where he began photographing members of Cody's Wild West Show. This current business card is the first we have seen and offered. Certainly an important acquisition for any collector of David F. Barry photographs. For additional information see: http://www.gresl.com/compositions/barry.html Extremely rare and excellent for display. David Frances Barry: Wisconsin's Frontier Photographer as Compiled by Gary John Gresl, in 2005: David Frances Barry Timeline and Relevant Experiences Drawn from the book, "The Little Shadow Catcher" by Thomas Heski, "Indian Notes on the Custer Battle" by David Barry and edited by Usher L. Burdick, and numerous newspaper clippings supplied by the Research Librarian, Teddie Meronek, Superior Public Library. He was called the "Little Shadow Catcher" by the Indians, due to his 5' 5" height and his miraculous ability to capture images on paper. Some whites called Barry the "Sioux Charmer", due to his friendly relations with many Natives, especially those of historical and topical importance. 1847 Edmund Barry, a young Irishman, migrated with wife to Honeoye Falls, New York state. David born March 6, 1854 in New York. Middle name Frances in honor of his mother's father. 1861 family settled in Otsego, WI, near Portage. (Misspelled Ostego in places.) Edmund was a shoemaker, and moved the family to Columbus, WI in 1862. The Civil War was on and Edmund took on odd jobs. David helped an itinerant photographer who had an upstairs gallery in Columbus. This was Orlando Scott Goff, who worked out of Portage, and who was making his way Westward. In 1871 Goff moved to Yangton, Dakota Territory, with the first photographic studio in Yankton. He set up a studio in Bismarck in Oct. 1873. 1878 is the earliest "discovered" mention of Barry in Dakota, and Goff may have contacted Barry to assist him in the previous year, 1877. However, there is a photograph of General Armstrong Custer bearing Barry's signature, although Custer died at Little Big Horn in 1876. There is another photo of Tom Custer, brother, who also died in the battle. Did Barry use two images that Goff had captured? Goff had been close to the so called "Custer Clan" and when Barry took over some of the operation he might have gained rights to these photos, and therefore signed them. The period between 1870 and 78 is an empty hole regarding Barry. If the Custer photos are by his own hand, he had to be in the Dakotas before June of 1876, prior to Custer's battle. This would require considerable research in archives in the Dakotas, and perhaps elsewhere, attempting to find proof that Barry was up that way prior to 78. Goff and Barry worked together in the 70's and 80's. Goff had a gallery that was affixed to a wagon. Barry decided to make a portable gallery as well, but one that was fabricated so it could be put up and taken down at any location. It was sometimes transported on a steamboat and undoubtedly railroad. It once was reported to have been unwillingly transported by a windstorm, never to have been seen again. The photography at the time was a rigorous endeavor. It employed glass plates and heavy equipment, often transported by wagon and/or horse, and photographers had to be hearty individuals. Barry became the proprietor of Goff's Bismarck studio and was thereafter largely on his own. Introduction of Rain-In-The-Face, Barry's Good Friend It has been suggested that a better translation from Sioux to English would be "His Face is Like a Storm", but Barry and his contemporaries knew him as Rain in the Face. 1874 General George Armstrong Custer and the Seventh Cavalry were ordered to conduct a reconnaissance on the Black Hills. They found fine timber, good soil, water and plenty of grass, as well as gold...leading to a gold rush that was supposedly contained by the military. On one excursion Custer was near the Yellowstone River with his regiment in 1874. Two of his men lagged behind as they stopped to pick up mineral specimens, moss agate and petrified wood. While they did this well out of sight of the regiment, as a continuing act of war between the military and the Natives, and an Indian named Rain in the Face used a rifle to kill both these men, Dr. Holzinger and Mr. Balarian. The horses of these men eventually made their way to the balance of the regiment, and a returning search party found the bodies...but no information about the perpetrators. A year later (1875) a war dance was given at Standing Rock Agency. During an intermission some the Indians advanced to the center of the arena and related their brave deeds, receiving applause from the audience of Natives. Present in the crowd was Charlie Reynolds, one of Custer's scouts, also known as Lonesome Charlie. He was later killed in the Battle of Little Big Horn. A young Indian stepped into the arena and related how he had killed the two men at the Yellowstone River. This was Rain in the Face, and this episode was the flint that struck the spark leading to the Custer Battle. Charlie Reynolds went to Fort Lincoln, headquarters of the Seventh Cavalry, and reported to General George Armstrong Custer what he had heard. Two weeks later Custer sent a hundred soldiers in the command of his brother, Captain Thomas Custer to arrest Rain in the Face. On what was called ration day Rain in the Face appeared in the trader's store at Standing Rock to receive his rations. Waiting for him was Tom Custer, who with other soldiers captured him. Apparently Tom Custer himself grabbed Rain in the Face's arms from behind preventing him from escape. At Fort Lincoln Rain in the Face was placed in the guard house to await the Federal court's spring term and a trial for murdering the two whites. Rain in the face managed to escape as a result of two grain thieves finding a means of egress and motioning for him to follow them. After traveling two nights he reached Standing Rock and joined his people. It appears that he and other Indians, who we might term as renegades, began to gather in increasing numbers to prepare for battle with the whites. Eventually this size of this force reached in the number of 3,000 or more. It was this force of several tribes and several chiefs that discovered Custer and other forces at or near the Little Big Horn on June 25th, 1876. Rain in the Face's actions are sometimes considered the events that led to the great battle. Rain in the Face was maligned for his actions, and it was reported that he specifically sought out Tom Custer on the battlefield to exact revenge on the man he believed to be a coward. In fact Tom Custer's body was found to be terribly mutilated beyond a normal battlefield condition. It was reported as well that his heart had been cut out, but that was later refuted by a Dr. Porter and others who witnessed the body. Barry made a point of making it clear that these actions were conducted in a time of warfare, and that Rain in the Face did what a warrior was expected to do. According to Barry's own accounts Rain in the Face and himself had a relationship that evolved into a very warm and meaningful one. Barry always spoke highly of the Indian's character, honesty and trustworthiness. Rain in the Face posed often for Barry, receiving in turn trades of objects or cash. He especially liked white shirts and apparently Barry kept him supplied with an ample amount. This account is a quote from the scarce publication, "David F. Barry's Indian Notes on 'The Custer Battle'", edited by Usher L. Burdick, 1937. In Barry's words, "It is not my intention to show Rain in the Face as a brave hero, but with all his savage nature, he possessed a good heart and valued a true friend...This cruel savage, as he was called, when I left the West, took his moccasins off his feet and gave them to me, requesting me to keep them as long as I lived, and when I looked at them to think of him. When he shook hands and said goodbye, he said: 'My heart is on the ground.'" Rain in the Face died on September 12th, 1905, and minutes before his demise he is said to have requested that Barry be told that he would do what he could for Barry on the other side. Barry is further quoted as saying, "One of the most savage and treacherous of the Sioux Indians was the truest friend I ever had, either white or red man." Chief Gall and Barry On the ten year anniversary of the battle, the acknowledged military leader of the Indians that day, Chief Gall, (1840-1894) was asked to relate at the actual site the movements and events of that fateful battle. Present was David Barry, acting as official photographer of the anniversary event, and no more than 7 other whites. It is related in some accounts that Barry could speak the Native language and acted as interpreter that day. It is also noted in some literature that it was Barry who persuaded Gall to participate in the anniversary event. The whites present were General E. S. Godfrey, General Benteen, Captain McDougall, Captain Edgerly, Dr. Porter, Colonel Partello, Colonel Slocum. Among the natives were Two Moons, White Bull, Crow King and Curley, the surviving Custer scout who wisely ran from the battle and survived. Gall reported that his men were aware of the movements of several groups of the military, as Custer had split into four or more units. One of these was commanded by General Crook who had witnessed the mass of Natives on June 17th, and had acted judiciously in retreating rather than engaging the huge numbers of Indians. As it was, he still lost several men as he departed. Gall and his men saw the largest dust cloud created by Custer and his 200 plus men. They were not surprised by the arrival of Custer and had been monitoring the movements of troops for several days before. It is clear that Custer had an opportunity to, like General Crook, retreat instead of throwing his men into a battle with thousands of Indians. Somehow he chose the path leading to the death of all living things in his regiment, save one horse...that being Comanche, the horse of General Keogh. Comanche was treated for wounds by the army, and served as an ambassador and touchstone in relating the events of the Custer Massacre. The battle, as related by Chief Gall, took about 35 minutes to be over. He noted that the army fought bravely despite overwhelming odds, but was no contest. Gall said to the assembly of that anniversary day, when asked by Barry..."How many men did you have?" Gall looked about picturing the scene in his mind, and replied "We were as thick as the grass on the ground." Chief Gall and Sitting Bull were allies, potentially rivals as they sought power for some different points of view. For example, Sitting Bull remained more adamant and bellicose after it became fairly clear that they could not defeat the whites. Gall and Sitting Bull drew apart, with Gall accepting the role of schools for Indians and other federal efforts to conform Natives. Some believe that the three most influential Sioux leaders were Chief Gall, Sitting Bull and Crazy Horse, all involved in the Battle of Little Big Horn. Interestingly, Crazy Horse (1849-1877) never let himself be photographed and resisted the white man's ways until his own death by bayonet as he struggled for his freedom while being taken to a guard house where he was to be incarcerated due to a misunderstanding of his intentions by General George Crook., After the Custer Battle, in fact in spring of 1881, Chief Gall surrendered at Fort Buford. Barry went to the Fort in order to secure a photograph of Gall. After much negotiation Gall consented to have his picture taken, but for a fee that went from an original $6 to $21, due to the malevolent actions of a described renegade interpreter names Allison who was angry at not making any money himself. Gall chose to pose in his own manner not wishing to yield to any instruction by Barry. But Barry apparently rearranged Gall's clothing in order to reveal more of him and snapped the picture. The next day Gall demanded to see the image and then demanded to take it. When Gall attempted to go past Barry in search for the photographic plate Barry managed to shove him aside. Gall drew a knife, Barry grabbed for his pistol that was nearby, and Gall eyed the photographer ascertaining just how strong Barry felt about his position. Gradually Gall backed away and left the studio. As the presence of Gall at the anniversary event suggest, when he retold the events of the Custer Battle, he and Barry had become friends in the intervening years. Sitting Bull and Barry Sitting Bull is often remembered for being at the Battle of Little Big Horn. Sitting Bull (1831-1890) was a medicine man, and in that capacity an important leader. Sitting Bull had stated to Chief Gall that he had shot many soldiers, but there are statements in the record that in fact he arrived to the scene after the fighting was over. For this he was sometimes made fun of. However, Sitting Bull was a true warrior for his people with the authority of a Chieftain. He was deemed a Disturber. In his role as medicine man he called upon the Great Spirit to aid his people to defeat the whites. He participated in the Ghost Dance and otherwise agitated on behalf of his Indian nations. Statements on record prove he was a wise and insightful man, disputing some of the public perceptions about him. Here is a single quote suggesting his knowledge: "Is it wrong for me to love my own? Is it wicked for me because my skin is red? Because I am Sioux? Because I was born where my father lived? Because I would die for my people and my country?" And this: "Now that we are poor, we are free. No white man controls our footsteps. If we must die, we die defending our rights." He gained the ire as well as some respect from the whites for his bold actions against them. After the particularly harsh winter of 1881, Sitting Bull, and those of his group who were still with him, finally gave themselves up to the American army. Sitting Bull was held prisoner for two years before he was moved to the Standing Rock Reservation in South Dakota. In 1885, officials released him and he joined the Buffalo Bill Wild West Show which toured in America and Europe For a period of several years, perhaps five years or less between 85 and 90, Sitting Bull toured with the Buffalo Bill Wild West Show. He proved to be a showman, also taking advantage of his popularity by accepting cash for his numerous peace pipes and other articles. He gave many such things away in trade, and was often photographed by Barry, as well as others. While I find no specific references suggesting great affection between the two men, they obviously were cordial and shared significant time together. On December 14, 1890, Sitting Bull was at his home at Grand River in the Standing Rock Agency. By that time he had been living with his family of two wives and several children. However, he was going to leave the morning of the 15th, with his followers, to go to Pine Ridge, Red Cloud Agency, to join the ghost dancers in that agency. He was leaving the Standing Rock Agency without a permit or pass. A Major McLaughlin ordered the Indian police to go to Grand River and arrest him. As instructed the Indian Police, including Policeman Bull Head, entered Sitting Bull's home. When Sitting Bull's son, Crow Foot, taunted his father about being resigned to the arrest, Sitting Bull pulled back. Sitting Bull was forcefully taken out of the house, and other Natives around them who were aware of the forced removal of Sitting Bull may have fired some shots. One shot struck Bull Head who turned and shot Sitting Bull, killing him. Crow Foot ran back into the house, hid under the bed, and while Bull Head said that he himself was dying from his wound, why were others letting Crow Foot live. Crow Foot was dragged from under the bed and was shot. It may be of interest to learn that it was reported that the evening before his death, Sitting Bull had a vision from the Great Spirit that he would soon die. He told his wives about this and they reported it after the tragic event of his death. Barry and Buffalo Bill During the times Barry traveled with the show taking his photographs he became very good friends with Buffalo Bill. They maintained this friendship for decades, corresponding and sharing time together when possible. Of course there were other photographers who also photographed Buffalo Bill and his entourage, but this friendship between Barry and Cody may have been strengthened due to Barry's intimate knowledge gathered during his experiences in the Dakotas and his friendships with Natives. He would have gained the respect of the experienced Bill Cody. Bill Cody was born in LeClaire, Iowa in 1846, moving to Kansas with his family as a child. He herded cattle, drove a wagon train, crossed the Great Plains more than once, was a fur trapper and gold miner, and joined the short lived Pony Express in 1860. He became an army scout after the Civil War. In December of 1872, in Chicago, at age 26, he began his entertainment career in a stage drama titled "The Scouts of the Prairie". Reviews of his acting ability were mixed, but being a showman was something he obviously loved. The following season Cody organized his own troupe, the Buffalo Bill Combination. The troupe' show "Scouts of the Plains" included Buffalo Bill, Texas Jack, and Cody's old friend "Wild Bill" Hickok. Wild Bill and Texas Jack eventually left the show, but Cody continued staging a variety of plays until 1882. That year he conceived of his Wild West show called Buffalo Bill's Wild West and Congress of Rough Riders of the World. It was an outdoor spectacle, designed to both educate and entertain, using a cast of hundreds as well as live buffalo, elk, cattle, and other animals. In the future his exhibitions also became part of and touring with the Sells'-Floto Circus...not an agreement to his liking, but one that was coerced by a shady business partner. He also appeared with the famous Pawnee Bill and his extravaganza, Pawnee Bill also being photographed by Barry. Buffalo Bill continued to have financial difficulties which kept him performing with other Wild West shows. He died in Denver in 1917 while visiting a sister. He had chosen to be buried on Lookout Mountain which overlooked nearby mountains and plains. The Buffalo Bill Memorial Museum, begun in 1921 by Johnny Baker, Buffalo Bill's foster son, illustrates the life, times, and legend of William F. Cody. It includes exhibits about Buffalo Bill's life and the Wild West shows, Indian artifacts, Western art and firearms. (It was Barry who persuaded the company of the Wild West Show to come to the Superior area for two performances in mid-July of 1926. This was the combined Sells Floto Circus and Buffalo Bill Wild West Show and seems to have been arranged as part of the fiftieth anniversary of the Custer Battle). Barry's Popularity: Barry had articles, images and quotes published in numerous publications, including Leslie's, the Literary Digest, Sports Afield, The American Patriot, the book "Out Where the West Begins" by Zena Irma Trinka. He was consultant to a movie reenacting the Custer Battle, provided images for a book by screen actor William S. Hart in a series called the Golden West Boys, furnished the National Custer Memorial Association with the pictures used in it national publicity campaign, furnished images for a book by Usher L. Burdick as well as being the subject of a book by Burdick, created articles for the "Texas Star" published by the Texas Oil company, and had many dozens of articles written about him in Superior area newspapers including the Superior Daily Call, the Evening Telegram, Sunday Morning Leader, the Wisconsin Sunday Times, the Bismarck daily Tribune He was reported on in The Manchester England Geographical Society publication. He furnished photos for Elizabeth Custer, widow of General Custer, with whom he maintained correspondence and friendship as she wrote articles and books. His photos appeared in "In a Sacred Manner I live", by Neil Phillip. There are quotes indicating that his images and statements had appeared in publications world wide. His reputation as a photographer and Indian expert and protagonist was spread by his association with Buffalo Bill, by his repeated contributions and attempts to keep the story about the Custer Battle and personalities involved true to the reality as he had heard and witnessed it, and by the contribution of his photographs as both art objects and historical records in important museums and collections. The Cody Museum in Cody Wyoming dedicated a bronze tablet in the Barry room housing a collection of his photographs. It is notable that during WWII, a "Victory Ship" was named in his honor. It was built by the Oregon Shipbuilding Corporation in Oregon, launched August 21, 1943. His value as a historic figure is supported by his numerous public statements about the nature of the Indian conflicts, his correction of wrong reports of the battles and personalities, his being invited to be part of the planning committee for the 50th anniversary of the Custer Battle, the many articles and reports about or by him during his life, Barry's Personal Life: There is little information about Barry's wife, Margaret Young (Patti), who was born April 1, 1864. Her parent's home was in Quincy, IL. where she married David in March of 1884, well after he had begun his photographic career in frontier of the Dakotas and Wisconsin. It is stated that she occasionally traveled with Barry on his excursions. She died on August 20th, 1932, and during the last couple of years of her life was an invalid. It is noted that her illness had prevented from taking an active part in the life of Superior, and that she was "a woman of fine character and gentle nature. The couple had no children. David himself had other misfortune later in life. He was seriously injured in Duluth when an automobile crashed in the rear end of a streetcar as he was stepping off the rear platform. In 1933 he sustained injury a leg due to a bad fall, which kept him primarily confined to his studio with short local excursions. His finances suffered in later years, and there were times he had to sell parts of his renowned Native American artifact collection. His brother in Illinois is known to receive artifacts for cash. But Barry apparently was also prone to give parts of it away to friends, and it was noted that "he was generous to a fault". That collection, which included objects once possessed by famous Indian and white individuals, objects he purchased or was given as well as some battlefield finds, was eventually procured by the Douglas County Historical Society where it remained on display. Unfortunately the collection suffered a loss by thieves in the 1970's. It is reported by Teddie Meronek, Research Librarian for the Superior Public Library, that that collection still contains between 500 and 600 or Barry's photographs. David Frances Barry, one of the pioneers and documenters of Western photography, was known by the Sioux and the "Little Shadow Catcher", and called by whites the "Sioux Charmer". All reports point to him as a man of outstanding character, honest and true, and a friend to many...both famous and plain. Barry died in Superior August 20th, 1934, on his 80th birthday. Barry's Various Locations and Timeline: David born to Irish immigrant parents in Honeoye Falls, NY, March 6, 1854 Family moved to Otsego, WI, 1861 Family moved to Columbus, WI, 1862 David met photographer Orlando Goff in or around Columbus, circa late 1860's Goff moves to Yangton, SD. by way of Sioux City, Iowa, in 1871, and then to Bismarck in 1873. Goff had a studio at Fort Lincoln which he closed around 1877. Barry's whereabouts are not known during this period of 1870-78, and he emerges in the literature as a photographer assisting Goff in 1978. Barry signed photographs of General George Armstrong Custer and Tom Custer exist, which suggests one or two things: 1. Barry was in the Dakotas before Armstrong was killed in June of 76 or 2. Barry gained rights to put his name photos taken by Goff when he took over some of Goff's professional business. Barry reported to be in Ft. McGinnis in Judith Mountains and Ft Buford intermittently in 81-82. 1883 he was in Ft. Custer, Montana. Feb. 22, 1889 the Dakota Territory became North and South Dakota. It was in Ft. Buford that Barry photographed Chief Gall and had the threatening encounter, and later became good friends with him while at Standing Rock Agency . 1883 Barry was at Fort Custer, Montana, traveling to the Custer Battlefield with his portable pre-fabricated gallery. He marries Margaret (Patti) Young in Quincy, IL, in March of 1884. He took over Goff's Bismarck gallery in spring of 1884. Barry and his wife left Bismarck for Superior, WI, May 15th, 1890. He remained in Superior from 1890-1897. Around January 15, 1897, the Barry's moved to New York City, 1300 Broadway. In the summer of 1889 they returned to Superior, as NYC was not providing the hoped for income. Remained in Superior, taking part on the National Custer Committee for the Fiftieth Anniversary in 1926, with events held at the battlefield and in Billings, Montana. In summer of 1926 the combined show of Sells-Floto and Buffalo Bill's Wild West Show put on two performances in Superior as a result of being asked by and friendship with David Barry. In 1928-29 Superior was dubbed "the summer capital of America. Wife dies August 20th, 1932 Barry dies March 6th, 1934. A Partial List of Collections Including David Barry Materials: The Smithsonian Institution Douglas County Historical Museum North Dakota State Historical Society Custer Battlefield Museum Buffalo Bill Museum in Cody, Wyoming W.S. Hart County Museum, Newhall, CA D.F. Barry Collection of Photographs, Denver Public Library McCracken Research Library Center for Holocaust and Genocide Studies, U of Minnesota National Archives and Records Administration, College Park, MD Library of Congress West Bend Art Museum, West Bend, WI Denver Public Library
Western America "PHOTOGRAPHS OF ALL NOTED INDIAN CHIEFS." c. 1870 Business Card of Photographer David F. Barry c. 1870, Original Printed Business Card of Photographer David Francis Barry, Choice Crisp Extremely Fine. Original Printed Card measuring 3.25" x 2" for "D. F. Barry, 1300 Broadway, Cor. 34th Street, New York". David F. Barry's Photographer Business Card, with a wonderful illustrated "CHIEF GALL" Portrait at upper left, with text below image that reads, "PHOTOGRAPHS OF ALL NOTED INDIAN CHIEFS." Card lists a New York City address. David Frances Barry (1854-1934) was a photographer based in Bismarck, Dakota Territory, who is most noted for his photographs of famous American Indians. In 1878, he was hired by itinerant photographer O. S. Goff, with whom he eventually partnered. From 1878 to 1883, Barry traversed the Dakota Territory, making many of his most widely known photographs of American Indians, forts and battlefields, military officers, and other people in the region. In 1883, Barry opened a new studio in Bismarck, where he began photographing members of Cody's Wild West Show. This current business card is the first we have seen and offered. Certainly an important acquisition for any collector of David F. Barry photographs. For additional information see: http://www.gresl.com/compositions/barry.html Extremely rare and excellent for display. David Frances Barry: Wisconsin's Frontier Photographer Compiled by Gary John Gresl, 2005 David Frances Barry Timeline and Relevant Experiences Drawn from the book, "The Little Shadow Catcher" by Thomas Heski, "Indian Notes on the Custer Battle" by David Barry and edited by Usher L. Burdick, and numerous newspaper clippings supplied by the Research Librarian, Teddie Meronek, Superior Public Library. He was called the "Little Shadow Catcher" by the Indians, due to his 5' 5" height and his miraculous ability to capture images on paper. Some whites called Barry the "Sioux Charmer", due to his friendly relations with many Natives, especially those of historical and topical importance. 1847 Edmund Barry, a young Irishman, migrated with wife to Honeoye Falls, New York state. David born March 6, 1854 in New York. Middle name Frances in honor of his mother's father. 1861 family settled in Otsego, WI, near Portage. (Misspelled Ostego in places.) Edmund was a shoemaker, and moved the family to Columbus, WI in 1862. The Civil War was on and Edmund took on odd jobs. David helped an itinerant photographer who had an upstairs gallery in Columbus. This was Orlando Scott Goff, who worked out of Portage, and who was making his way Westward. In 1871 Goff moved to Yangton, Dakota Territory, with the first photographic studio in Yankton. He set up a studio in Bismarck in Oct. 1873. 1878 is the earliest "discovered" mention of Barry in Dakota, and Goff may have contacted Barry to assist him in the previous year, 1877. However, there is a photograph of General Armstrong Custer bearing Barry's signature, although Custer died at Little Big Horn in 1876. There is another photo of Tom Custer, brother, who also died in the battle. Did Barry use two images that Goff had captured? Goff had been close to the so called "Custer Clan" and when Barry took over some of the operation he might have gained rights to these photos, and therefore signed them. The period between 1870 and 78 is an empty hole regarding Barry. If the Custer photos are by his own hand, he had to be in the Dakotas before June of 1876, prior to Custer's battle. This would require considerable research in archives in the Dakotas, and perhaps elsewhere, attempting to find proof that Barry was up that way prior to 78. Goff and Barry worked together in the 70's and 80's. Goff had a gallery that was affixed to a wagon. Barry decided to make a portable gallery as well, but one that was fabricated so it could be put up and taken down at any location. It was sometimes transported on a steamboat and undoubtedly railroad. It once was reported to have been unwillingly transported by a windstorm, never to have been seen again. The photography at the time was a rigorous endeavor. It employed glass plates and heavy equipment, often transported by wagon and/or horse, and photographers had to be hearty individuals. Barry became the proprietor of Goff's Bismarck studio and was thereafter largely on his own. Introduction of Rain-In-The-Face, Barry's Good Friend It has been suggested that a better translation from Sioux to English would be "His Face is Like a Storm", but Barry and his contemporaries knew him as Rain in the Face. 1874 General George Armstrong Custer and the Seventh Cavalry were ordered to conduct a reconnaissance on the Black Hills. They found fine timber, good soil, water and plenty of grass, as well as gold...leading to a gold rush that was supposedly contained by the military. On one excursion Custer was near the Yellowstone River with his regiment in 1874. Two of his men lagged behind as they stopped to pick up mineral specimens, moss agate and petrified wood. While they did this well out of sight of the regiment, as a continuing act of war between the military and the Natives, and an Indian named Rain in the Face used a rifle to kill both these men, Dr. Holzinger and Mr. Balarian. The horses of these men eventually made their way to the balance of the regiment, and a returning search party found the bodies...but no information about the perpetrators. A year later (1875) a war dance was given at Standing Rock Agency. During an intermission some the Indians advanced to the center of the arena and related their brave deeds, receiving applause from the audience of Natives. Present in the crowd was Charlie Reynolds, one of Custer's scouts, also known as Lonesome Charlie. He was later killed in the Battle of Little Big Horn. A young Indian stepped into the arena and related how he had killed the two men at the Yellowstone River. This was Rain in the Face, and this episode was the flint that struck the spark leading to the Custer Battle. Charlie Reynolds went to Fort Lincoln, headquarters of the Seventh Cavalry, and reported to General George Armstrong Custer what he had heard. Two weeks later Custer sent a hundred soldiers in the command of his brother, Captain Thomas Custer to arrest Rain in the Face. On what was called ration day Rain in the Face appeared in the trader's store at Standing Rock to receive his rations. Waiting for him was Tom Custer, who with other soldiers captured him. Apparently Tom Custer himself grabbed Rain in the Face's arms from behind preventing him from escape. At Fort Lincoln Rain in the Face was placed in the guard house to await the Federal court's spring term and a trial for murdering the two whites. Rain in the face managed to escape as a result of two grain thieves finding a means of egress and motioning for him to follow them. After traveling two nights he reached Standing Rock and joined his people. It appears that he and other Indians, who we might term as renegades, began to gather in increasing numbers to prepare for battle with the whites. Eventually this size of this force reached in the number of 3,000 or more. It was this force of several tribes and several chiefs that discovered Custer and other forces at or near the Little Big Horn on June 25th, 1876. Rain in the Face's actions are sometimes considered the events that led to the great battle. Rain in the Face was maligned for his actions, and it was reported that he specifically sought out Tom Custer on the battlefield to exact revenge on the man he believed to be a coward. In fact Tom Custer's body was found to be terribly mutilated beyond a normal battlefield condition. It was reported as well that his heart had been cut out, but that was later refuted by a Dr. Porter and others who witnessed the body. Barry made a point of making it clear that these actions were conducted in a time of warfare, and that Rain in the Face did what a warrior was expected to do. According to Barry's own accounts Rain in the Face and himself had a relationship that evolved into a very warm and meaningful one. Barry always spoke highly of the Indian's character, honesty and trustworthiness. Rain in the Face posed often for Barry, receiving in turn trades of objects or cash. He especially liked white shirts and apparently Barry kept him supplied with an ample amount. This account is a quote from the scarce publication, "David F. Barry's Indian Notes on 'The Custer Battle'", edited by Usher L. Burdick, 1937. In Barry's words, "It is not my intention to show Rain in the Face as a brave hero, but with all his savage nature, he possessed a good heart and valued a true friend...This cruel savage, as he was called, when I left the West, took his moccasins off his feet and gave them to me, requesting me to keep them as long as I lived, and when I looked at them to think of him. When he shook hands and said goodbye, he said: 'My heart is on the ground.'" Rain in the Face died on September 12th, 1905, and minutes before his demise he is said to have requested that Barry be told that he would do what he could for Barry on the other side. Barry is further quoted as saying, "One of the most savage and treacherous of the Sioux Indians was the truest friend I ever had, either white or red man." Chief Gall and Barry On the ten year anniversary of the battle, the acknowledged military leader of the Indians that day, Chief Gall, (1840-1894) was asked to relate at the actual site the movements and events of that fateful battle. Present was David Barry, acting as official photographer of the anniversary event, and no more than 7 other whites. It is related in some accounts that Barry could speak the Native language and acted as interpreter that day. It is also noted in some literature that it was Barry who persuaded Gall to participate in the anniversary event. The whites present were General E. S. Godfrey, General Benteen, Captain McDougall, Captain Edgerly, Dr. Porter, Colonel Partello, Colonel Slocum. Among the natives were Two Moons, White Bull, Crow King and Curley, the surviving Custer scout who wisely ran from the battle and survived. Gall reported that his men were aware of the movements of several groups of the military, as Custer had split into four or more units. One of these was commanded by General Crook who had witnessed the mass of Natives on June 17th, and had acted judiciously in retreating rather than engaging the huge numbers of Indians. As it was, he still lost several men as he departed. Gall and his men saw the largest dust cloud created by Custer and his 200 plus men. They were not surprised by the arrival of Custer and had been monitoring the movements of troops for several days before. It is clear that Custer had an opportunity to, like General Crook, retreat instead of throwing his men into a battle with thousands of Indians. Somehow he chose the path leading to the death of all living things in his regiment, save one horse...that being Comanche, the horse of General Keogh. Comanche was treated for wounds by the army, and served as an ambassador and touchstone in relating the events of the Custer Massacre. The battle, as related by Chief Gall, took about 35 minutes to be over. He noted that the army fought bravely despite overwhelming odds, but was no contest. Gall said to the assembly of that anniversary day, when asked by Barry..."How many men did you have?" Gall looked about picturing the scene in his mind, and replied "We were as thick as the grass on the ground." Chief Gall and Sitting Bull were allies, potentially rivals as they sought power for some different points of view. For example, Sitting Bull remained more adamant and bellicose after it became fairly clear that they could not defeat the whites. Gall and Sitting Bull drew apart, with Gall accepting the role of schools for Indians and other federal efforts to conform Natives. Some believe that the three most influential Sioux leaders were Chief Gall, Sitting Bull and Crazy Horse, all involved in the Battle of Little Big Horn. Interestingly, Crazy Horse (1849-1877) never let himself be photographed and resisted the white man's ways until his own death by bayonet as he struggled for his freedom while being taken to a guard house where he was to be incarcerated due to a misunderstanding of his intentions by General George Crook., After the Custer Battle, in fact in spring of 1881, Chief Gall surrendered at Fort Buford. Barry went to the Fort in order to secure a photograph of Gall. After much negotiation Gall consented to have his picture taken, but for a fee that went from an original $6 to $21, due to the malevolent actions of a described renegade interpreter names Allison who was angry at not making any money himself. Gall chose to pose in his own manner not wishing to yield to any instruction by Barry. But Barry apparently rearranged Gall's clothing in order to reveal more of him and snapped the picture. The next day Gall demanded to see the image and then demanded to take it. When Gall attempted to go past Barry in search for the photographic plate Barry managed to shove him aside. Gall drew a knife, Barry grabbed for his pistol that was nearby, and Gall eyed the photographer ascertaining just how strong Barry felt about his position. Gradually Gall backed away and left the studio. As the presence of Gall at the anniversary event suggest, when he retold the events of the Custer Battle, he and Barry had become friends in the intervening years. Sitting Bull and Barry Sitting Bull is often remembered for being at the Battle of Little Big Horn. Sitting Bull (1831-1890) was a medicine man, and in that capacity an important leader. Sitting Bull had stated to Chief Gall that he had shot many soldiers, but there are statements in the record that in fact he arrived to the scene after the fighting was over. For this he was sometimes made fun of. However, Sitting Bull was a true warrior for his people with the authority of a Chieftain. He was deemed a Disturber. In his role as medicine man he called upon the Great Spirit to aid his people to defeat the whites. He participated in the Ghost Dance and otherwise agitated on behalf of his Indian nations. Statements on record prove he was a wise and insightful man, disputing some of the public perceptions about him. Here is a single quote suggesting his knowledge: "Is it wrong for me to love my own? Is it wicked for me because my skin is red? Because I am Sioux? Because I was born where my father lived? Because I would die for my people and my country?" And this: "Now that we are poor, we are free. No white man controls our footsteps. If we must die, we die defending our rights." He gained the ire as well as some respect from the whites for his bold actions against them. After the particularly harsh winter of 1881, Sitting Bull, and those of his group who were still with him, finally gave themselves up to the American army. Sitting Bull was held prisoner for two years before he was moved to the Standing Rock Reservation in South Dakota. In 1885, officials released him and he joined the Buffalo Bill Wild West Show which toured in America and Europe For a period of several years, perhaps five years or less between 85 and 90, Sitting Bull toured with the Buffalo Bill Wild West Show. He proved to be a showman, also taking advantage of his popularity by accepting cash for his numerous peace pipes and other articles. He gave many such things away in trade, and was often photographed by Barry, as well as others. While I find no specific references suggesting great affection between the two men, they obviously were cordial and shared significant time together. On December 14, 1890, Sitting Bull was at his home at Grand River in the Standing Rock Agency. By that time he had been living with his family of two wives and several children. However, he was going to leave the morning of the 15th, with his followers, to go to Pine Ridge, Red Cloud Agency, to join the ghost dancers in that agency. He was leaving the Standing Rock Agency without a permit or pass. A Major McLaughlin ordered the Indian police to go to Grand River and arrest him. As instructed the Indian Police, including Policeman Bull Head, entered Sitting Bull's home. When Sitting Bull's son, Crow Foot, taunted his father about being resigned to the arrest, Sitting Bull pulled back. Sitting Bull was forcefully taken out of the house, and other Natives around them who were aware of the forced removal of Sitting Bull may have fired some shots. One shot struck Bull Head who turned and shot Sitting Bull, killing him. Crow Foot ran back into the house, hid under the bed, and while Bull Head said that he himself was dying from his wound, why were others letting Crow Foot live. Crow Foot was dragged from under the bed and was shot. It may be of interest to learn that it was reported that the evening before his death, Sitting Bull had a vision from the Great Spirit that he would soon die. He told his wives about this and they reported it after the tragic event of his death. Barry and Buffalo Bill During the times Barry traveled with the show taking his photographs he became very good friends with Buffalo Bill. They maintained this friendship for decades, corresponding and sharing time together when possible. Of course there were other photographers who also photographed Buffalo Bill and his entourage, but this friendship between Barry and Cody may have been strengthened due to Barry's intimate knowledge gathered during his experiences in the Dakotas and his friendships with Natives. He would have gained the respect of the experienced Bill Cody. Bill Cody was born in LeClaire, Iowa in 1846, moving to Kansas with his family as a child. He herded cattle, drove a wagon train, crossed the Great Plains more than once, was a fur trapper and gold miner, and joined the short lived Pony Express in 1860. He became an army scout after the Civil War. In December of 1872, in Chicago, at age 26, he began his entertainment career in a stage drama titled "The Scouts of the Prairie". Reviews of his acting ability were mixed, but being a showman was something he obviously loved. The following season Cody organized his own troupe, the Buffalo Bill Combination. The troupe' show "Scouts of the Plains" included Buffalo Bill, Texas Jack, and Cody's old friend "Wild Bill" Hickok. Wild Bill and Texas Jack eventually left the show, but Cody continued staging a variety of plays until 1882. That year he conceived of his Wild West show called Buffalo Bill's Wild West and Congress of Rough Riders of the World. It was an outdoor spectacle, designed to both educate and entertain, using a cast of hundreds as well as live buffalo, elk, cattle, and other animals. In the future his exhibitions also became part of and touring with the Sells'-Floto Circus...not an agreement to his liking, but one that was coerced by a shady business partner. He also appeared with the famous Pawnee Bill and his extravaganza, Pawnee Bill also being photographed by Barry. Buffalo Bill continued to have financial difficulties which kept him performing with other Wild West shows. He died in Denver in 1917 while visiting a sister. He had chosen to be buried on Lookout Mountain which overlooked nearby mountains and plains. The Buffalo Bill Memorial Museum, begun in 1921 by Johnny Baker, Buffalo Bill's foster son, illustrates the life, times, and legend of William F. Cody. It includes exhibits about Buffalo Bill's life and the Wild West shows, Indian artifacts, Western art and firearms. (It was Barry who persuaded the company of the Wild West Show to come to the Superior area for two performances in mid-July of 1926. This was the combined Sells Floto Circus and Buffalo Bill Wild West Show and seems to have been arranged as part of the fiftieth anniversary of the Custer Battle). Barry's Popularity: Barry had articles, images and quotes published in numerous publications, including Leslie's, the Literary Digest, Sports Afield, The American Patriot, the book "Out Where the West Begins" by Zena Irma Trinka. He was consultant to a movie reenacting the Custer Battle, provided images for a book by screen actor William S. Hart in a series called the Golden West Boys, furnished the National Custer Memorial Association with the pictures used in it national publicity campaign, furnished images for a book by Usher L. Burdick as well as being the subject of a book by Burdick, created articles for the "Texas Star" published by the Texas Oil company, and had many dozens of articles written about him in Superior area newspapers including the Superior Daily Call, the Evening Telegram, Sunday Morning Leader, the Wisconsin Sunday Times, the Bismarck daily Tribune He was reported on in The Manchester England Geographical Society publication. He furnished photos for Elizabeth Custer, widow of General Custer, with whom he maintained correspondence and friendship as she wrote articles and books. His photos appeared in "In a Sacred Manner I live", by Neil Phillip. There are quotes indicating that his images and statements had appeared in publications world wide. His reputation as a photographer and Indian expert and protagonist was spread by his association with Buffalo Bill, by his repeated contributions and attempts to keep the story about the Custer Battle and personalities involved true to the reality as he had heard and witnessed it, and by the contribution of his photographs as both art objects and historical records in important museums and collections. The Cody Museum in Cody Wyoming dedicated a bronze tablet in the Barry room housing a collection of his photographs. It is notable that during WWII, a "Victory Ship" was named in his honor. It was built by the Oregon Shipbuilding Corporation in Oregon, launched August 21, 1943. His value as a historic figure is supported by his numerous public statements about the nature of the Indian conflicts, his correction of wrong reports of the battles and personalities, his being invited to be part of the planning committee for the 50th anniversary of the Custer Battle, the many articles and reports about or by him during his life, Barry's Personal Life: There is little information about Barry's wife, Margaret Young (Patti), who was born April 1, 1864. Her parent's home was in Quincy, IL. where she married David in March of 1884, well after he had begun his photographic career in frontier of the Dakotas and Wisconsin. It is stated that she occasionally traveled with Barry on his excursions. She died on August 20th, 1932, and during the last couple of years of her life was an invalid. It is noted that her illness had prevented from taking an active part in the life of Superior, and that she was "a woman of fine character and gentle nature. The couple had no children. David himself had other misfortune later in life. He was seriously injured in Duluth when an automobile crashed in the rear end of a streetcar as he was stepping off the rear platform. In 1933 he sustained injury a leg due to a bad fall, which kept him primarily confined to his studio with short local excursions. His finances suffered in later years, and there were times he had to sell parts of his renowned Native American artifact collection. His brother in Illinois is known to receive artifacts for cash. But Barry apparently was also prone to give parts of it away to friends, and it was noted that "he was generous to a fault". That collection, which included objects once possessed by famous Indian and white individuals, objects he purchased or was given as well as some battlefield finds, was eventually procured by the Douglas County Historical Society where it remained on display. Unfortunately the collection suffered a loss by thieves in the 1970's. It is reported by Teddie Meronek, Research Librarian for the Superior Public Library, that that collection still contains between 500 and 600 or Barry's photographs. David Frances Barry, one of the pioneers and documenters of Western photography, was known by the Sioux and the "Little Shadow Catcher", and called by whites the "Sioux Charmer". All reports point to him as a man of outstanding character, honest and true, and a friend to many...both famous and plain. Barry died in Superior August 20th, 1934, on his 80th birthday. Barry's Various Locations and Timeline: David born to Irish immigrant parents in Honeoye Falls, NY, March 6, 1854 Family moved to Otsego, WI, 1861 Family moved to Columbus, WI, 1862 David met photographer Orlando Goff in or around Columbus, circa late 1860's Goff moves to Yangton, SD. by way of Sioux City, Iowa, in 1871, and then to Bismarck in 1873. Goff had a studio at Fort Lincoln which he closed around 1877. Barry's whereabouts are not known during this period of 1870-78, and he emerges in the literature as a photographer assisting Goff in 1978. Barry signed photographs of General George Armstrong Custer and Tom Custer exist, which suggests one or two things: 1. Barry was in the Dakotas before Armstrong was killed in June of 76 or 2. Barry gained rights to put his name photos taken by Goff when he took over some of Goff's professional business. Barry reported to be in Ft. McGinnis in Judith Mountains and Ft Buford intermittently in 81-82. 1883 he was in Ft. Custer, Montana. Feb. 22, 1889 the Dakota Territory became North and South Dakota. It was in Ft. Buford that Barry photographed Chief Gall and had the threatening encounter, and later became good friends with him while at Standing Rock Agency . 1883 Barry was at Fort Custer, Montana, traveling to the Custer Battlefield with his portable pre-fabricated gallery. He marries Margaret (Patti) Young in Quincy, IL, in March of 1884. He took over Goff's Bismarck gallery in spring of 1884. Barry and his wife left Bismarck for Superior, WI, May 15th, 1890. He remained in Superior from 1890-1897. Around January 15, 1897, the Barry's moved to New York City, 1300 Broadway. In the summer of 1889 they returned to Superior, as NYC was not providing the hoped for income. Remained in Superior, taking part on the National Custer Committee for the Fiftieth Anniversary in 1926, with events held at the battlefield and in Billings, Montana. In summer of 1926 the combined show of Sells-Floto and Buffalo Bill's Wild West Show put on two performances in Superior as a result of being asked by and friendship with David Barry. In 1928-29 Superior was dubbed "the summer capital of America. Wife dies August 20th, 1932 Barry dies March 6th, 1934. A Partial List of Collections Including David Barry Materials: The Smithsonian Institution Douglas County Historical Museum North Dakota State Historical Society Custer Battlefield Museum Buffalo Bill Museum in Cody, Wyoming W.S. Hart County Museum, Newhall, CA D.F. Barry Collection of Photographs, Denver Public Library McCracken Research Library Center for Holocaust and Genocide Studies, U of Minnesota National Archives and Records Administration, College Park, MD Library of Congress West Bend Art Museum, West Bend, WI Denver Public Library
Crisp and clear photograph of the chief in full war bonnet or headdress of eagle feathers. Bears the blind stamp of the photographer D. F. Barry across the left bicep.
Artist: David Frances Barry, American (1854 - 1934) Title: Sioux Indian Year: circa 1880 (later printing) Medium: Photograph Size: 7 in. x 5 in. (17.78 cm x 12.7 cm) Frame Size: 18 x 15 inches
D.F. Barry (American, 1854-1934) Hiawatha gelatin silver print 7" x 9" Provenance: Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, August 2, 1993
D.F. Barry (American, 1854-1934) "Reno Crossing Little Bighorn River," c. 1886, gelatin silver print, 6" x 8", stamped lower right, framed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, July 26, 1990. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
D.F. Barry (American, 1854-1934) "Sitting Bull (standing å¢ profile with floor length headdress)," 1888, albumen print, 5.5" x 4", unframed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, August 2, 2002. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
D.F. Barry (American, 1854-1934) "Crow Foot, Sitting Bull's Son and Standing Holy, Sitting Bull's Daughter (a pair of works)," c. 1885, albumen print, 5.5" x 3.75", unframed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, August 10, 2000. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
D.F. Barry (American, 1854-1934) "Crow Foot, Sitting Bull's Son," c. 1885, albumen print, 11.5" x 9", inscribed lower left, unframed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, August 10, 2000. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
D.F. Barry (American, 1854-1934) "Hiawatha," c. 1880, gelatin silver print, 7" x 9", unframed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, August 2, 1993. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
D.F. Barry (American, 1854-1934) "Dead Indians in Trees, Sioux," c. 1900, gelatin silver print, 9.25" x 6.25", blind stamp lower right, blind stamp on the mount, unframed Provenance: Andrew Smith Gallery, Inc., Santa Fe, New Mexico Acquired from the above by Robert E. Beck, July 26, 1990. Property from the Estate of Robert E. Beck, Murphysboro, Illinois
(lot of 3) David F. Barry (American, 1854-1934), "Chiefs of the Sioux Wars and Battle of Little Big Horn (Portfolio I)", "Custer, Prominent Military Structures, and Men who Fought the Sioux Wars (Portfolio II)", "Plains Warriors, Chiefs, Scouts, and Frontier Personalities (Portfolio III)," 1982, set of three (3) photograph portfolios consisting of forty five (45) gelatin silver prints, from original glass plate negatives, edition 52/150, published by Paul Harbaugh (Denver, CO), each signed by Paul Harbaugh and A. D. Mastrogiuseppe (Photographic Curator, Western History Dept, Denver Public Library) verso, sheets (unframed): 20"h x 16"w, overalls (with portfolio cases): 21.375"h x 17.25"w
(lot of 3) David F. Barry (American, 1854-1934), "Chiefs of the Sioux Wars and Battle of Little Big Horn (Portfolio I)", "Custer, Prominent Military Structures, and Men who Fought the Sioux Wars (Portfolio II)", "Plains Warriors, Chiefs, Scouts, and Frontier Personalities (Portfolio III)," 1982, set of three (3) photograph portfolios consisting of forty five (45) gelatin silver prints, from original glass plate negatives, edition 52/150, published by Paul Harbaugh (Denver, CO), each signed by Paul Harbaugh and A. D. Mastrogiuseppe (Photographic Curator, Western History Dept, Denver Public Library) verso, sheets (unframed): 20"h x 16"w, overalls (with portfolio cases): 21.375"h x 17.25"w
Artist: David Francis Barry, American (1854 - 1934) Title: Sioux Indian Year: circa 1880 (later printing) Medium: Photograph Size: 7 in. x 5 in. (17.78 cm x 12.7 cm) Frame Size: 18 x 15 inches
Lot of 2 albumen photographs taken by D. F. Barry on August 7, 1889, with his Bismarck, Dakota mark on recto, 8 x 9.75 in. Photographs with manuscript identifications on verso, the first reads Indian Commission/ Gen. Crook, Gov. Fasler, Maj. Warner, the second, a group photograph of Mrs. L. Powell, Gen. Crook, Mrs. Maj. Powell/ Gov. Fasler, Maj. Powell, Maj. Warner, Maj. Randall. The lot is accompanied by a celluloid negative of the second group portrait, 3.75 x 4.75 in. In the summer of 1889, General George Crook was appointed head of a new Commission to persuade the Sioux to accept an Act that involved breaking up the great Sioux Reservation. These photographs may have been taken in the midst of this Commission. Subsequently, the Sioux signed an agreement with the U.S. Government in 1889, and a significant portion of their land was thrown open to settlers.
7.5 x 8.9 in. albumen print on 10 x 8 in. gold-bordered mount. Barry signature and Bismarck, Dakota studio location printed in gold on mount which also carries identifications in ink, Dead Indians in Trees, and Sioux Indians. Dates 1870s to 1880s when Barry's studio was in Bismarck.
Silver gelatin portrait of Barry and Rain-in-the-face, with their names stamped below the image; both photograph and mount include Barry's blindstamp; with following verso manuscript: Sept. 30th 190(?) Superior, Wis / To / Albert F. Dodd. / With Compliments, and best wishes / of D.F. Barry. 6.25 x 8.25 in., mounted, 10 x 12 in.
Wearing fur-wrapped hair, shell earrings, a beaded necklace, eagle feather quills in his hair, and holding a felt hat. Applied label, Crow, and ink notation, Chief Oucapapa Sioux on mount, and Barry's Bismarck, D.T. studio imprint verso. The card dates before Nov. 2, 1889 when Dakota Territory was divided into North and South Dakota. Card also carries exhibit label on the back for the Second International Congress of Eugenics, Sept. 22 to Oct. 22, 1921 at the American Museum of Natural History where it was exhibited by C. F. Fish. Chief Crow was one of the leaders at the Battle of the Little Big Horn. He is said to have been shot twice with arrows which he pulled through, not breaking them off, thus giving him the honor of wearing the eagle quills.
Lot of 2 cabinet cards, ca 1890. Yellow Hawk, Oglala Dakota, is wearing beads, and holds a quill-decorated bag. Walking Cow, a woman, wears a dentalium shell necklace. Card carries ink notation, Walking Cow Sioux Mad Bears Daughter. Both cards carry Barry's Bismarck, North Dakota imprints on front and back, thus this card was probably made between Nov. 2, 1889 when Dakota Territory became North and South Dakota and when Barry sold his Bismarck studio early in 1890. Both cards also carry exhibit labels for the Second International Congress of Eugenics, Sept. 22 to Oct. 22, 1921 at the American Museum of Natural History where they were exhibited by C. F. Fish.
Also known as Brave Bear, or Conquering Bear, wearing an eagle feather bonnet with trailer. Applied label, Circling Bear, ink notation, Sioux Chief, and Barry's Bismarck, Dakota studio imprint on the mount. Likely dating before Nov. 2, 1889 when Dakota Territory became the states of North and South Dakota. Barry studio imprint on the back is partially covered by exhibit label for the Second International Congress of Eugenics, Sept. 22 to Oct. 22, 1921 at the American Museum of Natural History. This card was exhibited by C. F. Fish.
likely Dakota Territory, ca. 1890s. Image blind-stamped BARRY in foreground. As the men cluster around the agency, their women huddle on the ground in the distance. Photographer David Francis Barry (1854 û 1932) documented the Indians' descent from an autonomous tribal existence into that of government dependency on the reservation. 8.5" x 6.5" overall.
![[NATIVE AMERICANS]. BARRY, David F. (1854-1934), photographer. Cabinet card of Chief Gall, Hunkpapa Dakota. West Superior, WI, ca late 19th century.](https://stageimg.invaluable.com/housePhotos/Hindman/28/771228/H0587-L372101644.jpg)
![[NATIVE AMERICANS]. A group of 7 unmounted silver gelatin photographs of Native American subjects, incl. images by David F. BARRY and Hugh L. SCOTT. Ca 1890s.](https://stageimg.invaluable.com/housePhotos/Hindman/67/734367/H0587-L306889789.jpg)
![[NATIVE AMERICANS]. A group of 2 cabinet photographs of Chief Gall, Hunkpapa Lakota, comprising:](https://stageimg.invaluable.com/housePhotos/Hindman/39/725639/H0587-L293112075.jpg)
![[NATIVE AMERICANS]. BARRY, David F. (1854-1934), photographer. A collection of 51 photographs of Native American subjects, George Armstrong Custer, and personalities and places associated with the Battle of Little Bighorn.](https://stageimg.invaluable.com/housePhotos/Hindman/00/711700/H0587-L271225383.jpg)
