Edward S. Curtis Art

Sepia photogravure titled "Tsipiai - Sia" depicting native women engaged in pottery making. The photogravure is titled lower left "Tsipiai - Sia". Printed under the photogravure "Fro...

Sepia photogravure titled "Zuni Pottery" depicting a collection of Zuni pottery on the ground set against a stone wall. The photogravure is titled lower left "Zuni Pottery". Printed ...

Sepia photogravure titled "Kalispel Camp" depicting native figures in the foreground with kayak and teepee and rolling hills in the distance. The photogravure is titled lower left "K...

Sepia photogravure titled "Spotted Elk - Brule" depicting a portrait of Spotted Elk from the Brule tribe. The photogravure is titled lower left "Spotted Elk - Brule". Printed under t...

Sepia photogravure titled "On the Pend d'Oreille - Kalispel" depicting native figures in canoes on the water, more than likely the Pend D'Oreille River in areas that encompassed land...

Sepia photogravure titled "The Parade - Apsaroke" depicting Native Americans on their horses with teepees in the background. The photogravure is titled in plate lower left "The Para...

Sepia photogravure titled "Touch Her Dress - Kalispel" depicting the portrait of a young native girl. The Kalispel Tribe from areas that encompassed lands that stretched from Montana...

Sepia photogravure titled "Atsina War-Party" depicting Native Americans on their horses over-looking the grasslands in the distance. The photogravure is titled in plate lower left "A...

Sepia photogravure titled "Cree Boatwomen" depicting Native American women in boat on a lake. The photogravure is titled lower left "Cree Boatwomen". Printed under the photogravure "...

An original platinum print on textured paper by iconic American photographer Edward Curtis titled "Hopi Weaver"(sometimes known as "The Weaver"). Curtis was famed for his work with the Native American peoples of the American West at the turn of the century. This image features a male Hopi elder weaving a blanket - an exclusively masculine occupation at the time. This platinum print is hand-signed in ink, blind-stamped with Curtis' embossed studio copyright stamp, and dated 1899. The negative number ("X 743") can possibly also be imperceptibly/faintly seen written by Curtis on the lower-left edge. The photo is mounted on a single, handmade lightweight paper typical of other mounted Curtis photos...

Presented is a fine photogravure portrait of an Ogalala woman by Edward Curtis. The image is Plate 94 from Supplementary Portfolio 3 of Edward Curtis' epic project The North American Indian. The caption provided by Curtis for this image is “A face so strong that it is almost masculine, showing strikingly how slight may be the difference between the male and female physiognomy in some Primitive people.” The photograph was taken in 1907 and the photogravure was published in 1908 by John Andrew & Son, in Boston. Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful Downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large Size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered . respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax cylinder...

Presented is a fine photogravure portrait of Bear’s Teeth of the Arikara tribe by Edward Curtis. The image is Plate 154 from Supplementary Portfolio 5 of Edward Curtis' epic project The North American Indian. The caption, written by Curtis, for this image is as follows: “A member of the Night order of the medicine fraternity.” This photogravure was published in 1908 and was printed by John Andrew & Son, in Boston. Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered ... respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax...

Presented is a beautiful photogravure showing a Klamath man hunting from a dugout canoe. This image is Plate 458 from Volume 13 of Edward Curtis' epic project The North American Indian. The photogravure was published in 1923 by Suffolk Engr. Co., in Cambridge, MA. The Klamath people are from the inland region of Northern California and Southern Oregon. Their oral history records the volcanic eruption that created Crater Lake over 7000 years ago Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered ... respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax cylinder...

Edward S. Curtis Mishongnovi 1900 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #435, The North American Indian, on Japan...

Edward S. Curtis Chaiwa - Tewa - Profile 1921 Photogravure Print 22 x 18 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #415, The North American Indi...

Edward S. Curtis The Water Carriers 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate ...

Edward S. Curtis Return With The Willows - Piegan 1910 Photogravure Print 9 x 12 inches Vintage small format Curtis Volume Photogravure, Volume 6, The North American Indian, on Japa...

Edward S. Curtis A Hopi Woman 1905 Photogravure Print 22 x 18 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #411, The North American Indian, on Japa...

Edward S. Curtis Modified Style Of Hair Dressing 1921 Photogravure Print 22 x 18 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #428, The North Ameri...

Edward S. Curtis Buffalo Dance At Hano 1904 Photogravure Print Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #401, The North ...

Edward S. Curtis Counting The Record 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #413, The North American Indian, ...

Edward S. Curtis Looking Out To Sea, King Island 1928 Hand Colored Volume Photogravure 12 x 9 inches

Edward S. Curtis Flute Dancers At Tureva Springs 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #431, The North Ameri...

Edward S. Curtis The Piki Maker 1906 Photogravure Print 22 x 18 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #432, The North American Indian, o...

Edward S. Curtis A Gem Of Basketry - Southern Yokuts 1924 Hand Colored Photogravure 12 x 9 inches Vintage small format Curtis Volume Photogravure, Volume 13, The North American Ind...

Edward S. Curtis The Potter Mixing Clay 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #419, The North American I...

Edward S. Curtis East Mesa Girls, 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #427, The North American Indian, on ...

Edward S. Curtis Walpi Architecture 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12, Plate #421, The North American Indian, o...

Edward S. Curtis Snake Dancers Entering The Plaza 1921 Photogravure Print 18 x 22 inches Vintage large format Curtis Portfolio Photogravure, Portfolio 12...

"The Vanishing Race" is perhaps the most iconic and sought-after photographic print by renowned American artist Edward S. Curtis who was famed for h...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documen...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documen...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Tissue gravure Known for his remarkable documentation of Native Americans ...

An original platinum print on textured paper by iconic American photographer Edward Curtis titled "The Piki Maker" The print is hand-signed in ink, blind-stamped with Curtis' embos...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Photogravure on Holland Van Gelder tissue Known for his remarkable documentation of Native Americans in the early twentieth century, Edward S. Curtis, chronicled over 80 different tribes in the Southwest, the Great Plains...

Printed plate number, Curtis's title, date, copyright, and photogravures by John Andrews and Son on recto. Known for his remarkable documentation of Native Americans in the early tw...

Presented is a fine photogravure portrait of an Atsina man named Horse Capture by Edward Curtis. The image is Plate 170 from Supplementary Portfolio 5 of Edward Curtis' epic project The North American Indian. The photogravure was published in 1908 and was printed by John Andrew & Son, in Boston. Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful Downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large Size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered . respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax cylinder...