Tribal Photography

“Feathers are more than pretty; they contain a whole host of spiritual and cultural meanings.... It symbolises trust, honour, strength, wisdom, power, and freedom” Naturally shed feathers, none of them were dyed, all natural colours. Birds’ feathers included in this artwork: Blue Jay Pheasant Woodcock Blue Mallard Homing Pigeon Teal Duck Partridge Han Mallard Magpie Red Kite Blue & Gold Maccaw Red and Green Maccaw Peacock Guinea Fowl Parrot Leopard Spotted Argus Pheasant Lady Amherst Pheasant Ringneck Pheasant Golden Reeves Pheasant Tragopan Pheasant Oriental Bay Owl Scarlet Ibis Feathers, 2022 Series: Detritus Archival Pigment Print, Mounted on Dibond in custom made Frame; with Black Stained Oak and antireflective UV protective museum standard Art Glass Print 100 x 100 cm / 40 x 40 inches. Framed: 102 x 102 cm/ 41 x 41 inches approx. Edition of 5 + 2AP About the Artist George McLeod...

Native American Indian framed photogravure portrait entitled "Oyi-Sa-Wi" (which translates to "Ice Terrace) photographed by the iconic American ethnologist Edward S. Curtis in 1905. The woman photographed is an indigenous woman from the Santa Clara Pueblo in New Mexico. The sepia tone is typical of Curtis along with the deluxe Japanese Gampi tissue, often referred to as India proof paper. It is rare and very expensive and being translucent, it renders realistic and fine life like characteristics and depth to the original ink. Stamped in finite printing directly into the paper margins, "From Copyright Photograph 1905 by E.J. Curtis" and "Oyi-Sa-Wi (Ice Terrace)- Santa Clara"; the title of the photogravure (See images). The actual photograph was taken in 1905 and could have been published as late as 1926 in Volume 17 of The North American Indian Project. The image is mounted in a 1 1/4" curved coped walnut frame with herringbone perimeter inlay; and a soft complimentary cream toned matte all around; framed and mounted by the high preservation and conservation standards of the (since closed) "Barbara Anderson Gallery and Framing" in Berkeley, California who were in business since the early 1970's. Examples of this image and other original Edward Curtis photogravures...

Native American Indian framed photogravure portrait entitled "TS!E-KA" (which translates to "DOUGLAS SPRUCE LEAF"); photographed by the iconic American ethnologist Edward S. Curtis in 1905. The image depicts a prominent leader from the Ohkay Owingeh (San Juan Pueblo) tribe in New Mexico. "Tse-Kaq" pictured here is a "Cacique" which is a traditional spiritual chief within the Southwest Pueblo Native American community (see image; noted and printed in the bottom margin). The sepia tone is typical of Curtis along with the deluxe Japanese Gampi tissue, often referred to as India proof paper. It is rare and very expensive and being translucent, it renders realistic and fine life like characteristics and depth to the original ink. Stamped in finite printing directly into the paper margins, "From Copyright Photograph 1905 by E.J. Curtis" and "TS!E-KA" ("DOUGLAS SPRUCE LEAF"); the title of the photogravure. Also printed in the bottom margin "CACIQUE OF SAN JUAN" (see images). The actual photograph was taken in 1905 and could have been published as late as 1926 in Volume 17 of The North American Indian Project. The image is mounted in a 1 1/4" curved coped walnut frame with herringbone perimeter inlay; and a soft complimentary cream toned matte all around; framed and mounted by the high preservation and conservation standards of the (since closed) "Barbara Anderson Gallery and Framing" in Berkeley, California who were in business since the early 1970's. Examples of this image and other original Edward Curtis photogravures...

Native American Indian framed photogravure portrait entitled "POSE-ANYE" (which translates to "DEW MOVING"--"Nambe'"); photographed by the iconic American ethnologist Edward S. Curtis in 1905. The image features a head and shoulders portrait of a Tewa tribe member from the Nambe Oweenge Pueblo in New Mexico. The sepia tone is typical of Curtis along with the deluxe Japanese Gampi tissue, often referred to as India proof paper. It is rare and very expensive and being translucent, it renders realistic and fine life like characteristics and depth to the original ink. Stamped in clear and finite printing directly into the paper margins, "From Copyright Photograph 1905 by E.J. Curtis" and "POSE-ANYE" ("DEW MOVING"--"Nambe'"); the title of the photogravure (see images). The actual photograph was taken in 1905 and could have been published as late as 1926 in Volume 17 of The North American Indian Project. The image is mounted in a 1 1/4" curved coped walnut frame with herringbone perimeter inlay; and a soft complimentary cream toned matte all around; framed and mounted by the high preservation and conservation standards of the (since closed) "Barbara Anderson Gallery and Framing" in Berkeley, California who were in business since the early 1970's. Examples of this image and other original Edward Curtis photogravures...

Ancient Woodland All the elements used were collected from the first walk with my Mum and stepdad between lockdowns. All from a small woodland in North Norfolk. Ancient Woodland, 2020 Series: Detritus Archival Pigment Print, Mounted on Dibond in custom made Frame; with Black Stained Oak and antireflective UV protective museum standard Art Glass Print 60 x 60 cm / Framed: 62 x 62 cm/ 24.5 x 24.5 inches approx. Edition of 8 + 2AP About the project: "Detritus' series was born from the twin frustrations of lockdown halting all planned projects, yet litter still somehow being dropped in abundance on my street. With no idea of the final output, or indeed the hygiene implications, I started to collect, scan, and record what I found. When I realised these colourful misshapen objects could be turned into something beautiful, the frustrations left me and I began looking for other sources of Detritus. These collages gave me purpose during the pandemic and allowed me to grow something beautiful from a place of frustration. My aim is to simply give viewers of the work a fleeting moment of calm. Unable to shoot anything, I’ve been making collections of things I find on the ground and scanning them to create composite images of otherwise ignored or discarded objects." - George McLeod...

Hunter Barnes has documented his stay when joining the Tamkaliks Powwow in Wallowa, Oregon. This work is an artist proof, archival silver gelatin, handprinted by the artist and signed on verso. Directly acquired from the artist. The framing is 100% archival, with the use of only acid frame materials. Glazing, Optium non glare museum plexi. Hand finished wooden frame. Hunter Barnes is a documentary photographer whose work captures aspects of culture and communities ignored by the mainstream and often misrepresented in the modern American narrative. Hunter trained in photochemistry and traditional photographic techniques. At a young age, he began a nomadic life on the road. In his early twenties, Hunter self published his first book, Redneck Roundup, documenting the dying communities of the Old West. Other projects followed: four years spent with the Nez Perce tribe; months with a serpent handling congregation in the Appalachain mountains; bikers, lowriders, and street gangs...