Two photograph albums, one with 50 images, the other with 33, and 12 loose prints document Southern Plains Indigenous communities in the Indian Territory circa the 1890s, The collection encompasses mounted cabinet, boudoir, and larger-format sized albumen prints, many numbered sequentially from 2300 through 2388. The numbering system suggests the album was compiled from a larger commercial or documentary archive, with each image selected and captioned by someone with direct knowledge of the subjects. The handwritten captions on the album pages identify many subjects by nation, name, and location. A probable connection to anthropologist Alice Fletcher is noted by the consignor, and several images correspond to those published in "Dividing the Reservation: Alice C. Fletcher's Nez Perce Allotment Diaries and Letters, 1889-1892."<BR><BR>Named subjects visible in the captions include Wap-A-Wa identified as a Kiowa chief, Ago Big Horse of the Kiowa, a figure identified as a Caddo, and a woman captioned as the daughter of Satanta; additional images identify Kiowa girls, Comanche subjects, and a group of Kiowa, Comanche, and Wichita women and children. Camp and event scenes include an Indian village, an Indian dance, a parade at Anadarko in Indian Territory dated July 1893, a Fourth of July gathering at Fort Sill dated 1894, tipis with figures in the foreground, and a scene captioned "Waiting for the Issue." Texas hunting scenes bear captions placing them in Kimble County, Edwards County, and along the North Llano River, dated 1889, with racks of dressed deer carcasses, canvas tents, and mounted hunters prominently featured.<BR><BR>Alice Fletcher was one of the foremost American ethnologists of the late nineteenth century, best known for her fieldwork among the Omaha and Nez Perce and her role in implementing the Dawes Allotment Act; her documented presence in the Indian Territory during this period aligns closely with the subjects, dates, and locations represented throughout this collection, making the consignor's attribution historically plausible and substantively significant.<BR><BR>One album cover bears gilt lettering reading "Photographs" with decorative scrollwork and brass corner reinforcements; a paper nameplate on the lower edge reads "Marvin Rogolsky." Captions throughout both album pages are handwritten in ink and pencil, with catalog numbers appearing in many of theprints. Loose prints include reverses inscribed with locations such as "Missouri River," "Fish Trap on Lapwai Creek," and "Monday man at Kamiah," with one reverse noting the Nez Perce connection and crediting Francis Haines.<BR><BR><B>Please contact us if you would like to see the complete images from this lot. </B><BR><BR>From the collection of James Lee Soffer