In his early photographic career, Curtis gained
considerable respect as a portrait photographer. His
talent was recognized by President Theodore Roosevelt
who arranged for Curtis to photograph the Roosevelt
children at their Sagamore Hill home on the East Coast.
"Playing in the sand." Left to right: Quentin Roosevelt, Archie Roosevelt, Edward
S. Curtis, and Nicholas Roosevelt. Copyrighted 1904.
Call number: LOT 10512 Reproduction number: LC-USZ6-641 |
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Curtis began photographing local Native people
in Washington state shortly after establishing his
portrait studio in Seattle in 1891.
"On the Beach." A Chinook woman with a staff and clam basket on the mud flats
of Shoalwater Bay. Copyrighted 1910.
Call number: LOT 12326-C Reproduction number: LC-USZ62-99363 |
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During a trip to Montana around 1900, Curtis witnessed
the annual sundance of the area's indigenous people
which later influenced his decision to document Native
cultures on a large-scale. He returned to Montana many
times over the next several years.
"On the Custer Outlook." Curtis, the photographer, posed with four Crow men in
Montana. Copyrighted 1908.
Call number: LOT 12320 Reproduction number: LC-USZ62-66633 |
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Permanent and temporary shelters and dwellings,
ceremonial sites, fishing platforms, and storage units
for agriculture, are among the many types of structures
featured in Curtis's extensive overview of the architecture
of Native people.
"King Island Village." Consisting of twenty-nine houses on stilts, this Eskimo
settlement is built on seven terraces. Copyrighted 1929.
Call number: LOT 12330 Reproduction number: LC-USZ62-13916 |
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Native women making pottery, tending infants in
cradleboards, hauling wood, harvesting fruit, carrying
water, grinding corn, and stretching hides are among
the traditional domestic activities depicted in Curtis's
work.
"Piki maker." This Hopi woman is preparing piki, a wafer-thin bread made from
cornmeal, on a baking stone in her pueblo home. Copyrighted 1906.
Call number: LOT 12315 Reproduction number: LC-USZ62-115802 |
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Tribal chiefs and leaders of Native nations are
well-represented in the Curtis collection and provide
a rich and valuable source of family history. Many
are identified while others are simply referred to
by title. In recent years, however, tribal historians
have identified some of these previously unnamed subjects.
"Joseph–Nez Perce." Hienmot Tooyalakekt (1841-1904), commonly known as Chief
Joseph, was a leader of the Wallamotkin band of Nez Perce. Copyrighted 1903.
Call number: LOT 12325-C Reproduction number: LC-USZ61-2088 |
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Although Curtis rarely photographed families as
a whole, many images relating to the family are some
of the finest examples of portraiture. These include
mothers with babies, young boys and girls, teenagers,
and married couples.
"Good Bear [and family]." The young boys in this Hidatsa family posed for their
portrait in western clothing typical for this time period while their parents
favored ceremonial dress. Copyrighted 1908.
Call number: LOT 12321-A Reproduction number: LC-USZ62-96196 |
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Influenced by the Pictorialist movement in photography--which
viewed photographs as fine art, comparable to drawings
and paintings--Curtis developed his craft using soft-focus,
cropping, and other pictorialist techniques. His artistry,
talent, and vision are evident in the carefully composed,
romanticized images.
"At the water's edge–Piegan." Copyrighted 1910.
Call number: LOT 12322-C Reproduction number: LC-USZ62-101262 |
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Curtis often portrayed indigenous people and their
cultural practices in ways that obscured the ongoing
process of assimilation. On occasion, long-haired wigs,
tribal artifacts, and ceremonial clothing were used
to enhance his nostalgic imagery. Here, a party of
Oglala Sioux reenact their former days as warriors.
"Planning a Raid." Scene from the re-enactment of the Battle of Wounded Knee
on the Pine Ridge reservation in South Dakota. Copyrighted 1907.
Call number: LOT 12319 Reproduction number: LC-USZ62-90799 |
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Between 1911 and 1914, Curtis filmed In the Land
of the Headhunters based on his dramatic screenplay
of love and war among the Kwakiutl Indians in British
Columbia. Kwakiutl craftsmen were hired to construct
an artificial village, costumes, masks, and other props
for the film. This wedding ceremony was a scene in
the movie.
"Wedding party-Qagyuhl." According to Curtis, after the Kwakiutl wedding in the
bride's village, the party returns to the husband's home in the painted canoe
while the men sing and thump with the handles of their paddles. Copyrighted 1914.
Call number: LOT 12328 Reproduction number: LC-USZ62-51435 |
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