The Christopher Cardozo (1948 – 2021) Collection of Edward S. Curtis by Art Gallery Publication

THE CHRISTOPHER CARDOZO (1948-2021) COLLECTION OF EDWARD S. CURTIS A Signature Live Auction: June 26, 2021

THE CHRISTOPHER CARDOZO (1948-2021) COLLECTION OF EDWARD S. CURTIS Live Auction Saturday, June 26, 2021 Session I 10:00 AM MDT Session II 1:30 PM MDT 932 Railfan Road, Santa Fe, NM 87505 Previews June 15 – June 25, 2021 10 AM– 5 PM MDT and by appointment 932 Railfan Road, Santa Fe, NM 87505 Opening Reception Friday, June 25, 2021, 5 – 7 PM 932 Railfan Road, Santa Fe, NM 87505

Registration This sale will be open to the public for bidding in person. Register online at santafeartauction.com or call 505-954-5858 Online Bidding santafeartauction.com invaluable.com bidsquare.com liveauctioneers.com Telephone and Absentee Bidding Telephone and Absentee bidding arrangements must be made no later than 5 PM MDT on June 25, 2021. Telephone bidders are encouraged to leave absentee bids in the case of technical difficulties. Please direct all inquiries to 505.954.5858 Customer Services Monday to Friday 9AM to 5 PM T. 505-954-5858 E. info@santafeartauction.com Complete condition reports, provenance statements, exhibition history and literature references are available by request before 5 PM MDT on June 25, 2021.

932 Railfan Road, Santa Fe, NM 87505 info@santafeartauction.com 505.954.5858 santafeartauction.com @santafeartauction

TABLE OF CONTENTS Small Silver Gelatin Prints - Toned pp. 8 — 13

Large Silver Gelatin Prints - Untoned pp. 14 — 16

Silver Gelatin Border Prints pp. 17 — 18

Cyanotypes pp. 19 — 23

Gold-Toned Printing-Out Paper Prints pp. 24 — 27

Large Silver Gelatin Prints – Toned pp. 28 — 32

Small Platinum Prints pp. 33 — 63

Goldtones pp. 66 — 67

The North American Indian pp. 70 — 71

Large Platinum Prints pp. 72 — 93

Small Silver Gelatin Prints pp. 94 — 114

Experimental + Hand-Colored Prints pp. 115 — 122

Plate Cover Envelopes pp. 123 — 131

TNAI Individual Volumes pp. 132 — 133

“Part of the fascination that photography holds is its ability to unlock secrets kept even from ourselves. Like dreams, the photograph can uncork a heady bouquet of recognition which can escape into the cognitive world.” — Jack Welpott, Women & Other Visions, 1975

FOREWORD Ontogenesis – 1. The organic biological unfolding involved in gradual change of an organism from simple to evermore complex. 2. The transcendent life experiences of Christopher Cardozo. Imagine yourself, a young artist far from home, and your culture, language, and familiar comforts. You suddenly learn that your host and guide is absent. You have little cash (only access to a parent’s emergency credit card), half a tank of gas in your VW, and no place to sleep. If your heart suddenly fills with joyous anticipation and a part of you shouts “Let the adventure begin” – then you might be able to imagine what it is like to embrace an unfolding and unanticipated life that was Christopher Cardozo’s ontogenesis. A small village in southern Mexico became his unexpected refuge. Days turned into weeks, weeks into months and gradually this curious photographer found a place within the people and images he was crafting and curating. Once ripened, Chris gathered enough resources to start his journey home. Along the way he paused for a night in Colorado, and there, as providence would always assure, he discovered the next bridge in his life’s journey: two Edward S. Curtis original gravures. This he knew constituted the emergency for which his parents intended his use of their credit. Christopher saw in Curtis’ work the images, the relationships, the spiritual connections he himself had discovered in Oaxaca. All in a pictorialism that captured what became Chris’ life cynosure, themes of beauty, heart and spirit.

meet with the descendants of those Curtis collaborators, lead the repatriation of art and artifact, donate materials to tribal colleges and universities, even teach cyanotype processes to native youth. Along the way Chris amplified the profound lessons of the entire Curtis oeuvre: the merging of art and artifact, history and humanity, the individual and communal. Edward S. Curtis had an inspiring vision, “Such a big dream”, he said, “I cannot see it all.” It was a powerful vision and one which drew the support and attention of President Theodore Roosevelt, financier J. P. Morgan, countless community showcases (e.g., Carnegie Hall, Hudson Theater), scholars, artists, publishers and Native American leaders including Chief Joseph, Red Cloud and Chief Garfield. Today that vision still speaks to Native leaders. For N. Scott Momaday “Curtis preserved…the unmistakable evidence of our involvement in the universe.” Author Louise Erdrich notes the strong and very real presence of lifeforce in these images and speaks of the “exchange” and “intensity of regard” that is so present in the women and children in these photographs. And the artistry of Curtis is still groundbreaking to today’s artists and critics. A.D. Coleman perceives the powerful relationship “between photographer and viewer for which the photographic object serves as synapse.” Clearly, these are our collective heirlooms, created for us all, by a remarkable and large collection of visionaries who were trying to bridge peoples and generations, trying to touch the future. Talking to us.

Chris became immersed in the Curtis legacy. He poured over correspondence, field notes, documents. He restored films, wax cylinder recordings, and artifacts. Along the way he rediscovered lost processes for the preparation of gold tones and became a foremost expert on the world of Edward S. Curtis. He also became a discerning and bold collector, and compassionate curator – perhaps even in the pastoral sense of that term.

As we continue to rewrite history in the frames of modern perspectives, Edward S. Curtis has served up a broad slice of our Native Nations. And Christopher Cardozo delivered the legacy and message from our past to our present in a full and compassionate context. Though they never met, the collaboration of these two talented visionaries will help us reframe our understanding of artifact as art and of this arts’ role in service to our humanity.

For Chris, his calling, this “Sacred Legacy” was to finish the work of those early collaborators, those who partnered with Curtis, and carry their messages into the future.

Whilst you tour this collection and catalogue, I invite you to consider the complex layering in each piece as well as their relationship to both parts and whole of the collection. Recall the collaborators who selected the place, the pose, surrounding artifacts, clothing and who built a montage that Curtis framed with unsurpassed artistry. These are transcendent artifacts. In them I pray you find a moment of unity in beauty, mind and spirit.

Consider that incredible portrait of Kikisoblu, the eldest daughter of Chief Seattle (aka Princess Angeline). Sitting out at night in the city named for her father, where the laws still forbade native women in city limits after sunset. What a courageous and powerful message of sovereignty, perseverance and strength she sent to her granddaughters, to generations that would follow.

— Eric J. Jolly, Ph.D., 2021

Bringing the beauty, heart and spirit in these photographic messages to the scions of the original messengers was Chris’ passion. He would

Eric J. Jolly, Ph.D., a lifelong friend and collaborator with Christopher Cardozo, is the President and CEO of the Saint Paul & Minnesota Foundation and a Cherokee storyteller. He is a life member of the Society for Advancement of Chicanos and Native Americans in Science, a life fellow of the American Association for the Advancement of Science and former director on the board of the National Museum of the American Indian.

CHRISTOPHER CARDOZO

(February 27, 1948 — February 21, 2021)

Christopher Cardozo was the world’s leading authority on Edward Curtis. Author of nine books, and curator of over 100 exhibitions in 42 countries and 6 continents, Chris was devoted to the promotion, exhibition, publication and study of the photographer’s life work, bringing the legacy Curtis created, in collaboration with some 10,000 Native Americans, to contemporary audiences. Cardozo first discovered the work of Edward Curtis in 1973 after a friend saw Cardozo’s own sepia-toned photographs of indigenous people taken during an extended period in Mexico. High in the Sierra Madre, Chris had documented a place that was losing its way, rife with alcoholism and poverty. He took photos in somber, sepia tones. He made friends. He was held at gunpoint. He knew that the experience was changing his life. Heading home to St. Paul, MN, he stopped in Albuquerque, where he first encountered some of Curtis’ prints and experienced a “shock of recognition.” As his sister, Julie, now tells it, “Our dad had given him a credit card for emergencies, but Chris went to Boulder and bought a Curtis photogravure with the card. “This is an emergency,’ he said. “And that was it. That was how he discovered Curtis.” Cardozo returned to his hometown of St. Paul and voraciously consumed everything he could find about Curtis’ life and work. He then began speaking with dealers, traveling to auctions and learning and buying as many of the photographs as he could find. After a brief stint with a gallery in Minneapolis, Cardozo headed to Aspen, Colorado and opened a gallery there in the late 1980s. The gallery was extraordinarily successful for about ten years until Chris decided to return home to Minnesota and continue collecting and selling Curtis material. In a 2018 interview with the Minneapolis Star Tribune, Cardozo said “I was led to this. This is my soul’s purpose. Why I ended up on Earth at this particular time was to make this work available to people.” Cardozo also served as a consultant/curator for many private Curtis collections as well as public institutions, including the J. Pierpont Morgan Library. In the 1970s Curtis’ work was rediscovered by the photographic and fine art community, in large part due to the efforts of Cardozo. In the same interview with the Star Tribune, he stated, “I believe I was instrumental in changing the conversation about Curtis. He’d been thought of as an ethnographer…but I got people to see his work as the artistic achievement that it was. The platinum prints, the gold tones, the cyanotypes…they leave me speechless at times.” Cardozo is the author of nine monographs on Edward Curtis and has created and curated one-person Curtis exhibitions that have been seen in nearly one hundred venues in over forty countries, and on every continent, but Antarctica. Having collected Curtis’s artwork for decades, Cardozo created the world’s largest and most broad-ranging Curtis collection. This personal collection has been exhibited in major museums internationally and was the subject of his widely heralded monograph on Curtis: Sacred Legacy; Edward S. Curtis and The North American Indian, and a new monograph on his personal collection titled Edward S. Curtis: One Hundred Masterworks, in which Cardozo said, “Curtis’ work changed the way our nation viewed Native Americans and generated a broad-ranging dialogue for greater compassion, understanding, and inclusion. For more than a century, his images have moved and inspired diverse audiences, transcending economic, cultural, social, educational, and national boundaries. [Curtis] accomplished this at a time when Native Americans were commonly viewed with disdain or hatred and some individuals were still actively advocating for the extinction of all Native peoples on the North American continent.” Only 160 complete sets of Curtis’ “The North American Indian” are known to remain extant today, and all of them financially and physically out of reach of new generations of scholars and students. Chris Cardozo therefore undertook the three–year painstaking task of artisan republication of the 20-volume work and accompanying portfolios, so as to coincide with the 2018 sesquicentennial of Curtis’ birth. With the republication accomplished, Cardozo—long bothered by the fact that he was a white man owning so much of Native America’s legacy—launched the “10,000 Print Repatriation Project” to connect the descendants of those photographed with their ancestors’ images. The 10,000 number comes from the number of Native subjects who sat for Curtis during his lifetime. Cardozo spent countless hours researching the subjects of these photographs and then finding their living relatives working through the various native communities. As Cardozo told a writer at the time, “If 10,000 people helped Curtis create this, we will repatriate 10,000 photographs.” As the founder of Cardozo Fine Art, he pioneered techniques for preserving and revitalizing historic photographs, as well as developed cutting-edge techniques for contemporary photography. He was also the founder and board chair of the Edward S. Curtis Foundation, dedicated to preserving and exhibiting the work of Edward Curtis. No one has done more to increase the awareness, understanding, and appreciation for Curtis’ work than Cardozo. Friends and family are committed to continuing his work. Upon reaching the age of 70, he wanted to return full circle to his own photography which launched this incredible journey. In a 2018 interview with the blog, Artful Living, Cardozo was asked what he would like his legacy to be. He responded quickly in a manner only Chris could do by saying, “I don’t like thinking in those terms, because it sounds so ego-driven, but I think to have accumulated this work and preserved the basic integrity of it for future generations and also to have helped people have a much deeper understanding of the work. Again, I call it beauty, heart and spirit, or sacred legacy. And, to me, it is fundamentally healing work. If there’s one thing that has tied it all together, it’s healing, and getting more people attuned to that is by far my proudest achievement.” Beauty, heart and spirit. That is how we would like to remember Christopher Cardozo as well.

SESSION I

10:00 AM MDT Lots 1 – 156

“While primarily a photographer, I do not see or think photographically, hence the story of Indian life will not be told in microscopic detail but rather will be presented as a broad and luminous picture” — Edward S. Curtis

SMALL SILVER GELATIN PRINTS - TONED 1 DAIRY HERD, PUGET SOUND [Puget Sound, Northwest] Silver gelatin print - toned Negative Date: Unknown, Print Date: Unknown 7 7/16 x 9 3/8 in. (18.89 x 23.81 cm.), Mount: 9 1/2 x 11 3/16 in. (24.13 x 28.42 cm.) This is a toned print, on single-weight, luster surface silver gelatin paper, on a paper mount. $100 – $150

Curtis produced a small body of toned gelatin silver prints for exhibition and sale, on papers that varied in texture, weight, and finish. Gelatin silver prints, the most common form of black- and-white photograph made in the pre-digital era, use silver salt suspended in a gelatin emulsion to form the photographic image. As with platinum prints, Curtis toned most of his silver prints intended for exhibition or sale to give them the warm sepia tone consistent with his subject matter and his personal aesthetic. 8

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2 CEREMONIAL PREPARATION FOR WHALING, 1915 [Clayoquot, Northwest]

3 UNTITLED (BULL CHIEF AND SHOT IN THE HAND), 1905 [Apsaroke, Great Plains]

Silver gelatin print - toned Negative Date: 1915, Print Date: ca. 1915 7 15/16 x 5 15/16 in. (20.16 x 15.08 cm.) This is a toned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - toned Negative Date: 1905, Print Date: ca. 1905 6 7/16 x 5 15/16 in. (16.35 x 15.08 cm.) This is a toned print on single-weight, luster surface silver gelatin paper.

(Appears in TNAI Volume XI, 1916, offered as lot 316)

$500 – $1,000

4 THE TRAIL TO SHIPAULOVI, 1906 [Hopi, Southwest] Silver gelatin print - toned Negative Date: 1906, Print Date: ca. 1906 7 15/16 x 5 7/8 in. (20.16 x 14.92 cm.) In negative at lower left print recto: X1990-06 This is a toned print on double-weight, matte surface silver gelatin paper. $500 – $1,000

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SMALL SILVER GELATIN PRINTS - TONED

$300 – $500

SMALL SILVER GELATIN PRINTS - TONED

5 READY TO THROW THE HARPOON, 1915 [Hesquiat, Northwest]

6 NOOTKA METHOD OF SPEARING, 1915 [Nootka, Northwest]

Silver gelatin print - toned Negative Date: 1915, Print Date: ca. 1915 5 3/4 x 7 11/16 in. (14.61 x 19.53 cm.) This is a toned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - toned Negative Date: 1915, Print Date: ca. 1915 7 15/16 x 5 7/8 in. (20.16 x 14.92 cm.) This is a toned print on double-weight, matte surface silver gelatin paper.

(Appears in TNAI Volume XI, 1916, offered as lot 316)

$500 – $1,000

7 A NOOTKA, 1915 [Nootka, Northwest]

8 UNTITLED (THE BARK GATHERER AND THE ROOT DIGGER), 1910 [Hesquiat, Northwest]

Silver gelatin print - toned Negative Date: 1915, Print Date: ca. 1915 7 15/16 x 5 5/16 in. (20.16 x 13.49 cm.) This is a toned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - toned Negative Date: 1910, Print Date: ca. 1910 7 15/16 x 5 5/8 in. (20.16 x 14.29 cm.) In negative at lower left on print recto: X3333-10 This is a toned print on double-weight, matte surface silver gelatin paper.

(Appears in TNAI Volume XI, 1916, offered as lot 316)

$500 – $1,000

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9 STRAIGHT TO HIM DRIFTED THE BLUEBIRDS WING (FLUTE OF THE GODS), CA. 1909 [Unknown, Southwest]

(Appears in TNAI Volume IX, 1913, offered as lot 315)

Silver gelatin print - toned Negative Date: ca. 1909, Print Date: ca. 1909 7 3/4 x 5 11/16 in. (19.69 x 14.45 cm.) Paper: 9 x 7 in. (22.86 x 17.78 cm.) Signed, at lower right on print recto: Curtis This is a toned print on double-weight, textured, semi-matte surface silver gelatin paper. $2,000 – $3,000

$1,000 – $2,000

11 HOMEWARD - PUGET SOUND, 1898 [Puget Sound, Northwest] Silver gelatin print - toned Negative Date: 1898, Print Date: ca. 1898 5 1/2 x 7 7/16 in. (13.97 x 18.89 cm.) This is a toned print on double-weight, matte surface silver gelatin paper. $1,500 – $2,500

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SMALL SILVER GELATIN PRINTS - TONED

Silver gelatin print - toned Negative Date: ca. 1909, Print Date: ca. 1909 7 3/4 x 5 13/16 in. (19.69 x 14.76 cm.) Mount: 11 x 14 in. (27.94 x 35.56 cm.) In negative at lower left on print recto: R2-09 This is a toned print on double-weight, matte surface silver gelatin paper.

10 SIGNAL FIRE TO THE MOUNTAIN GODS, CA. 1909 [Unknown, Southwest]

SMALL SILVER GELATIN PRINTS - TONED

12 UNTITLED (STANDING ATOP A KIVA), CA. 1900 [Hopi, Southwest]

13 SNAKE JARS IN THE KIVA, 1906 [Walpi, Southwest]

Silver gelatin print - toned Negative Date: ca. 1900, Print Date: ca. 1900 5 1/4 x 7 3/8 in. (13.34 x 18.73 cm.) Mount: 11 x 14 in. (27.94 x 35.56 cm.) In negative at lower left on print recto: Curtis X72.3 This is a toned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - toned Negative Date: 1906, Print Date: ca. 1906 5 7/16 x 7 3/4 in. (13.81 x 19.69 cm.) This is a toned print on double-weight, matte surface silver gelatin paper. $500 – $1,000

$500 – $1,000

14 UNTITLED (VARIANT OF FLUTE DANCERS AT TUREVA SPRING - WALPI), 1904 [Walpi, Southwest]

15 UNTITLED (STAIRWAY TO SHIPAULOVI), 1906 [Hopi, Southwest]

Silver gelatin print - toned Negative Date: 1904, Print Date: ca. 1904 5 15/16 x 7 13/16 in. (15.08 x 19.84 cm.) In negative at lower left on print recto: X1116-04 This is a toned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - toned Negative Date: 1906, Print Date: ca. 1906 5 7/8 x 7 15/16 in. (14.92 x 20.16 cm.) Mount: 11 x 14 in. (27.94 x 35.56 cm.) In negative at lower left on print recto: Curtis X784 This is a toned print on double-weight, matte surface silver gelatin paper.

$500 – $1,000

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16 UNTITLED (TWO LEGGINGS LODGE), 1908 [Apsaroke, Great Plains] Silver gelatin print - toned Negative Date: 1908, Print Date: ca. 1908 7 13/16 x 5 15/16 in. (19.84 x 15.08 cm.) This is a toned print on single-weight, luster surface silver gelatin paper. $1,000 – $2,000

Silver gelatin print - toned Negative Date: 1914, Print Date: ca. 1914 7 7/8 x 5 7/16 in. (20 x 13.81 cm.) This is a toned print on single-weight, glossy surface silver gelatin paper. $1,000 – $2,000

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SMALL SILVER GELATIN PRINTS - TONED

17 UNTITLED (VARIANT OF WÁSWASLIKYI - QÁGYUHL), 1914 [Qágyuhl, Northwest]

LARGE SILVER GELATIN PRINTS - UNTONED 18 GÁNASKIDI - NAVAHO, 1904 [Navajo, Southwest] Silver gelatin print - untoned Negative Date: 1904, Print Date: 1904 17 15/16 x 13 5/8 in. (45.56 x 34.61 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1904 BY E.S. CURTIS In the negative at lower left on print recto: X1075-04 This is an untoned print on single-weight, matte surface silver gelatin paper. $3,000 – $5,000

“The great changes in practically every phase of the Indian's life that have taken place, especially within recent years, have been such that had the time for collecting much of the material, both descriptive and illustrative, herein recorded, been delayed, it would have been lost forever." — Edward S. Curtis 14

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Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 13 15/16 x 10 7/8 in. (35.40 x 27.62 cm.), Paper: 14 1/4 x 11 1/16 in. (36.20 x 28.10 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $1,000 – $2,000

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LARGE SILVER GELATIN PRINTS - UNTONED

19 HÁMASILAHL - QÁGYUHL, 1914 [Qágyuhl, Northwest]

LARGE SILVER GELATIN PRINTS - UNTONED

20 THE SEAWEED GATHERER, 1915 [Calyoquot, Northwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 15 7/16 x 11 7/16 in. (39.21 x 29.05 cm.) In the negative at lower left on print recto: illegible writing This is an untoned print on single-weight, glossy surface silver gelatin paper. $1,000 – $2,000

21 KOSKIMO WOMAN (CROP VARIANT), 1914 [Koskimo, Northwest] Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 13 11/16 x 10 7/8 in. (34.77 x 27.62 cm.) Paper: 14 x 11 1/4 in. (35.56 x 28.58 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $1,000 – $2,000

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22 THE PIKI MAKER, 1906 [Hopi, Southwest] Silver gelatin toned border print Negative Date: 1906, Print Date: ca. 1906 7 9/16 x 5 9/16 in. (19.21 x 14.13 cm.) Paper: 9 15/16 x 7 7/8 in. (25.24 x 20 cm.) Signed in black ink at lower right on print recto: Curtis In negative at lower left on print recto: X1969-06 $3,000 – $5,000

A classic Curtis photograph of a Hopi woman making traditional flat bread (“Piki”). Piki is cornbread baked in colored sheets of paper-like thinness.

Silver gelatin toned border print Negative Date: 1906, Print Date: ca. 1906 7 5/8 x 5 5/8 in. (19.37 x 14.29 cm.) Paper: 12 7/16 x 9 11/16 in. (31.59 x 24.61 cm.) Signed in negative at lower right on print recto: Curtis $3,000 – $5,000

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SILVER GELATIN BORDER PRINTS

23 THE PIKI MAKER, 1906 [Hopi, Southwest]

SILVER GELATIN BORDER PRINTS 24 SIGNAL FIRE TO THE MOUNTAIN GODS, CA. 1909 [Unknown, Southwest]

25 PRAYER TO THE STARS, CA. 1909 [Unknown, Southwest]

Silver gelatin toned border print Negative Date: ca. 1909, Print Date: ca. 1909 7 5/8 x 5 5/8 in. (19.37 x 14.29 cm.) Paper: 10 x 7 13/16 in. (25.40 x 19.84 cm.)

Silver gelatin border print Negative Date: ca. 1909, Print Date: ca. 1919 7 9/16 x 5 1/2 in. (19.21 x 13.97 cm.) Paper: 9 x 7 in. (22.86 x 17.78 cm.) Signed in black ink at lower right on print recto: Curtis L.A. ©

$3,000 – $5,000 This epic piece has inspired compositions by Jean Dube, Henry Gilbert, and Dario Miller. It documents practices paralleling the reverence for the power that links earth and sky in many Native traditions (e.g. The Willamette Meteorite). It captures the solemnity of the moment when smoke carries words and prayers to the Gods.

$2,500 – $3,500

26 BY THE CANAL - MARICOPA, 1907 [Maricopa, Southwest] Silver gelatin toned border print Negative Date: 1907, Print Date: ca. 1919 7 9/16 x 5 1/2 in. (19.21 x 13.97 cm.) Paper: 9 15/16 x 7 15/16 in. (25.24 x 20.16 cm.) Signed in black ink at lower right on print recto: Curtis L.A. © In negative at lower left on print recto: X2200-07 $1,000 – $2,000 18

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Dancing Cheyenne 1

Dancing - Cheyenne (Variant 1)

Dancing - Cheyenne (Variant 2)

Dancing - Cheyenne (Variant 3)

27 GROUP OF FIVE CYANOTYPES: DANCING CHEYENNE, 1911 [Cheyenne, Great Plains] Cyanotype Negative Date: 1911, Print Date: 1911 Each, approximately: 5 13/16 x 7 3/4 in. (14.76 x 19.69 cm.) Dancing Cheyenne 1: In black wax pencil at upper margin on verso: J80 In graphite at upper margin on verso: Piegan chey Dancing - Cheyenne (Variant 1): In black wax pencil at upper margin on verso: J75 In brown ink at upper margin on verso: Cheyenne Dancing - Cheyenne (Variant 2): In black wax pencil at upper margin on verso: J61 In brown ink at upper margin on verso: Cheyenne Dancing - Cheyenne (Variant 3): In black wax pencil at upper margin on verso: J68 In brown ink at upper margin on verso: Cheyenne

(Appears in TNAI Volume VI, 1911, offered twice as lots 310 and 313) $4,000 — $6,000

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Curtis commonly made prints while in the field to see what he had achieved, or failed to achieve, with his new negatives. Without access to a darkroom and the chemistry necessary for traditional photographic printing, Curtis chose a simple process for his field prints called cyanotype. The cyanotype process was invented in 1842 by photographic pioneer Sir John Herschel; it is a precursor to the technique architects use for blueprints. Curtis’ cyanotypes are now very rare since most have been discarded over the years. However, they form a powerful link to Curtis and his project and are often the only remaining evidence of a negative. Cardozo considered them to have a “subtle yet often powerful beauty.”

CYANOTYPES

Dancing - Cheyenne (Variant 4) In black wax pencil at upper margin on verso: J74 In brown ink at upper margin on verso: Cheyenne

Dancing - Cheyenne (Variant 4)

CYANOTYPES 28 MASKED DANCER - COWICHAN, 1912 [Cowichan, Northwest]

29 KUTENAI PROFILE, 1910 [Kutenai, Plateau & Woodlands]

Cyanotype Negative Date: 1912, Print Date: 1912 7 7/8 x 5 7/8 in. (20 x 14.92 cm.) In black wax pencil at upper margin on verso: a172X In graphite at upper margin on verso: Masked Dancer - Cowichan In brown ink at upper margin on verso: X3434

Cyanotype Negative Date: 1910, Print Date: 1910 7 13/16 x 5 3/4 in. (19.84 x 14.61 cm.) Sheet: 7 15/16 x 5 7/8 in. (20.16 x 14.92 cm.) In black wax pencil at upper margin on verso: e30 In graphite at upper margin on verso: Kutenai Profile In brown ink at upper margin on verso: X3198

(Appears in TNAI Volume IX, 1913, offered as lot 315) $3,000 – $4,000

(Appears in TNAI Volume VII, 1911, offered as lot 312) $2,500 – $3,500

30 RED PLUME - PIEGAN (VARIANT), 1905 [Piegan, Great Plains] Cyanotype Negative Date: 1905, Print Date: 1905 7 7/8 x 5 7/8 in. (20 x 14.92 cm.) In black wax pencil at upper margin on verso: e21 In brown ink at upper margin on verso: Piegan $1,000 – $2,000 20

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31 A DANCER IN THE SUMMER CEREMONY, 1914 [Kwakiutl, Northwest]

32 A COWICHAN MASK (VARIANT), 1912 [Cowichan, Northwest]

Cyanotype Negative Date: 1914, Print Date: 1914 7 15/16 x 5 15/16 in. (20.16 x 15.08 cm.) Sheet: 8 x 5 15/16 in. (20.32 x 15.08 cm.) In black wax pencil at upper margin on verso: a51-X In black ink at upper margin on verso: A Dancer in the Summer Ceremony In black at upper margin on verso: Kwakiutl

Cyanotype Negative Date: 1912, Print Date: 1912 8 1/8 x 5 7/8 in. (20.64 x 14.92 cm.) In black wax pencil at upper margin on verso: a152-X In graphite at upper margin on verso: Masked Dancer - Cowichan In brown ink at upper margin on verso: Cowichan $1,500 – $2,500

$2,500 – $3,500

33 KOMINAKA DANCER, 1914 [Kwakiutl, Northwest]

$1,500 – $2,500 SANTA FE ART AUCTION

Cyanotype Negative Date: 1910, Print Date: 1910 5 15/16 x 8 in. (15.08 x 20.32 cm.) In black wax pencil at upper margin on verso: B1X In graphite at upper margin on verso: 219 $2,000 – $3,000

CYANOTYPES

Cyanotype Negative Date: 1914, Print Date: 1914 8 x 5 3/4 in. (20.32 x 14.61 cm.) In black wax pencil at upper margin on verso: a251X In black ink at upper margin on verso: Kominaka Dancer without skulls, as the dance is performed in these times In black at upper margin on verso: Kwakiutl

34 WITH HER PROUDLY DECKED HORSE - CAYUSE (VARIANT), 1910 [Cayuse, Plateau & Woodlands]

CYANOTYPES 35 UNTITLED (KWAKIUTL FEMALE SHAMAN), 1914 [Kwakiutl, Northwest]

36 SISIUTL- QÁGYUHL (VARIANT), 1914 [Qágyuhl, Northwest]

Cyanotype Negative Date: 1914, Print Date: 1914 7 7/8 x 5 7/8 in. (20 x 14.92 cm.) Sheet: 8 x 5 7/8 in. (20.32 x 14.92 cm.) In black wax pencil at upper margin on verso: a196X In brown ink at upper margin on verso: Kwakiutl

Cyanotype Negative Date: 1914, Print Date: 1914 8 x 5 3/4 in. (20.32 x 14.61 cm.) In black wax pencil at upper margin on verso: a40-X In graphite at upper margin on verso: Kwakiutl

$1,500 – $2,500

$2,000 – $3,000

This image of a fully adorned female Kwakiutl spiritual leader is one of many similar stories documented by Curtis in film, wax recordings, and ethnographic notes. These images of powerful and influential women stand in sharp contrast to the roles of European-American women in these days before the 19th Amendment. The garment is layered together from individual pieces representing multiple contributors across generations.

37 TSUNUKWA AT KWAUSTUMS (VARIANT), 1914 [Kwakiutl, Northwest] Cyanotype Negative Date: 1914, Print Date: 1914 8 1/8 x 5 7/8 in. (20.64 x 14.92 cm.) In black wax pencil at upper margin on verso: a124-X In black at upper margin on verso: Kwakiutl $2,000 – $3,000 22

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38 SEALERÍS CAMP - YAKUTAT BAY, 1899 [Alaska] Cyanotype Negative Date: 1899, Print Date 1899 5 1/2 x 7 11/16 in. (13.97 x 19.53 cm.) Sheet: 5 7/16 x 7 3/4 in. (13.81 x 19.69 cm.) In the negative at lower left: Curtis In the negative at lower left: X257a Copyright in negative: COPYRIGHTED 1899 E.H. HARRIMAN $2,000 – $3,000

39 OFFERING PIPE TO THE SKULL - CHEYENNE, 1911 [Cheyenne, Great Plains] Cyanotype Negative Date: 1911, Print Date: 1911 6 x 7 1/8 in. (15.24 x 18.10 cm.) In black wax pencil at upper margin on verso: 1114 In black ink at upper margin on verso: Offering Pipe to the Skull - Cheyenne In black ink at upper margin on verso: X3247 (Appears in TNAI Volume VI, 1911, offered twice as lots 310 and 313) $500 – $1,000

40 SLATE CARVINGS REPRESENTING A HAIDA SHAMAN (VARIANT), 1915 [Haida, Northwest]

$500 – $1,000

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CYANOTYPES

Cyanotype Negative Date: 1915, Print Date: 1915 8 1/4 x 5 7/8 in. (20.96 x 14.92 cm.) In black wax pencil at upper margin on verso: 254-14

GTPOP

41 LUMMI WOMAN (CROP VARIANT), 1899 Gold-toned printing-out-paper print (GTPOP) Negative Date: 1899, Print Date: ca. 1899 15 15/16 x 5 13/16 in. (40.48 x 14.76 cm.) Signed, in the negative at lower left: Curtis In negative at lower left: 23 Copyright in negative at lower left: COPYRIGHTED 1899 $6,000 – $8,000 Artist, collector and historian Christopher Cardozo saw in this particular piece Edward S. Curtis' insights into the collective strength and dignity embodied by tribal women. Curtis would frequently document the unadorned women who gave rhythm and life to a village community.

GOLD-TONED PRINTING-OUT PAPER PRINTS (“GTPOP”) GTPOP is one of the earliest forms of master prints Curtis made, and today they are exceedingly rare, with few examples surviving. It is estimated that only about 1 in 10,000 of Curtis’ extant prints are in this form. The gold-toned printing out paper prints have extremely fine resolution and a unique reddish sepia hue. The images Curtis printed in this process during a two- to three-year period beginning in 1898/99 are often dramatic and compelling and provide a unique record of his artistry and technical genius. Among sophisticated collectors, it is perhaps the most prized of all the photographic processes in which Curtis worked. 24

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42 LISHHAIAHIT - KITTITAS (LESCHI), 1899 [Kittitias (Upper Yakima), Plateau & Woodlands] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1899, Print Date: ca. 1899 14 7/16 x 11 3/16 in. (36.67 x 28.42 cm.) Signed, in the negative at lower left: Curtis In negative at lower left: 12 Copyright in negative at lower left: COPYRIGHTED 1899 $6,000 – $8,000

43 HOMEWARD - PUGET SOUND (VARIANT), 1898 [Puget Sound, Northwest] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1898, Print Date: ca. 1898 Sight: 6 x 7 7/8 in. (15.24 x 20 cm.) Frame: 12 x 14 in. (30.48 x 35.56 cm.) Signed, in the negative at lower left: Curtis In negative at lower left: 851 B Copyright in negative at lower left: COPYRIGHTED 1898 $4,000 – $6,000

44 HOMEWARD - PUGET SOUND, 1898 [Puget Sound, Northwest] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1898, Print Date: ca. 1898 5 5/8 x 7.81 in. (14.29 x 19.84 cm.) Signed, in the negative at lower left: Curtis In negative at lower left: 851 A Copyright in negative at lower left: COPYRIGHTED 1898 $3,000 – $5,000

GTPOP

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GTPOP

45 TYPICAL NEZ PERCE (NOT COM SA HAUT), 1899 [Nez Perce, Plateau & Woodlands] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1899, Print Date: ca. 1899 15 13/16 x 11 15/16 in. (40.16 x 30.32 cm.) Signed, in the negative at lower left: Curtis In negative at lower left: 15 Copyright in negative at lower left: COPYRIGHTED 1899 $3,000 – $5,000 The Nez Perce were a small and highly regarded tribal group who lived in the Plateau region of The West. Their leader, and Curtis’ friend, was the renowned Chief Joseph. The Nez Perce brave in this rare print obviously possessed great strength and dignity. His gaze is intent and direct. His unshorn hair is worn loose except for the traditional “pompadour” on top. He wears a simple shirt with shell or bone buttons; a fourteen-strand shell bead (“heishi”) necklace, with tiny brass bells in the outer strand; and a multi-color heishi choker. The patterns in the blanket draped over his right shoulder add an interesting aesthetic element to the image. All in all, this is one of Curtis’ most compelling and iconic portraits, in an extremely beautiful and rare process. It is estimated that four or fewer examples of this image in the gold-toned printing-out-paper were created or still exist.

46 A SNAKE PRIEST, 1900 [Hopi, Southwest] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1900, Print Date: ca. 1900 13 3/16 x 11 11/16 in. (33.50 x 29.69 cm.) Single Mount: 21 11/16 x 16 11/16 in. (55.09 x 42.39 cm.) Signed, in the negative at lower left: E.S. Curtis In negative at lower left: 97 Copyright in negative at lower left: COPYRIGHT 1900 $3,000 – $5,000 This compelling portrait was made by Edward Curtis in 1900, his first year of serious work on the North American Indian project. This snake priest is a member of the Antelope fraternity (as indicated by the white markings on his arms) and his dress shows that he is about to perform in one of the final days of the Snake Dance, an extremely important Hopi ceremony. He wears a large and complex array of necklaces, which include “heishi” (shell) beads, silver conchos, cast medallions, and various accents. He holds eagle feathers and wears a large fetish headdress with many dazzlers. He also wears graduated “heishi” drop earrings and has two-strand leather armbands. He has painted designs on his breach cloth. He is clearly an individual of very high status. This is an extremely early Curtis print from among the earliest of 40,000–50,000 negatives he produced over the thirty-year project. It is believed to be one of only two to three gold-toned printing-out-paper prints of this compelling image.

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47 UNTITLED (PLATEAU WOMAN), 1899 [Unknown, Plateau & Woodlands] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1899, Print Date: ca. 1899 16 1/4 x 11 11/16 in. (41.28 x 29.69 cm.) Single Mount: 21 3/4 x 16 3/4 in. (55.25 x 42.55 cm.) $2,000 – $3,000

48 LUMMI TYPE, 1899 [Lummi, Northwest] Gold-toned printing-out-paper print (GTPOP) Negative Date: 1899, Print Date: ca. 1899 15 1/8 x 11 13/16 in. (38.42 x 30 cm.) Single Mount: 17 5/16 x 13 7/8 in. (43.97 x 35.24 cm.) Signed, in the negative at lower left: Curtis Copyright in negative at lower left: COPYRIGHTED 1899 $1,000 – $2,000

GTPOP

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LARGE SILVER GELATIN PRINTS – TONED

49 THE VANISHING RACE - NAVAHO, 1904 [Navajo, Southwest] Silver gelatin print - toned Negative Date: 1904, Print Date: 1904 24 7/8 x 34 15/16 in. (63.18 x 88.74 cm.) In negative, lower left on print recto: Copyright 1904 (partially obscured) This is a toned print on double-weight, textured, luster surface silver gelatin paper. This is the largest example of this iconic image that Cardozo ever came across in his 50 year career. $5,000 – $7,000

50 THE VANISHING RACE - NAVAHO, 1904 [Navajo, Southwest] Silver gelatin print - toned Negative Date: 1904, Print Date: ca. 1904 10 x 13 in. (25.40 x 33.02 cm.) Frame: 13 1/2 x 16 1/2 in. (34.29 x 41.91 cm.) In the negative at lower left on print recto: X984 Copyright in the negative, lower left on print recto: COPYRIGHT 1904 BY E.S. CURTIS Original studio sticker at upper left on frame verso An original “The Vanishing Race” poem by Ella Higginson label on frame verso This is a toned print on double-weight, semi-matte surface silver gelatin paper, in the original period frame. $4,000 – $6,000

“The Vanishing Race” was Curtis’ signature piece. It was the visual metaphor for the core conceptual underpinning of Curtis’ life’s work i.e., that Native Americans, as a culture, at least, were vanishing. It became Curtis’ over-arching life goal to create a record of Native Americans and their lifeways before they disappeared forever. Curtis searched for an image to illustrate this idea for nearly four years before creating “The Vanishing Race”. A century ago, it was by far and away Curtis’ most popular single image. Today it still remains a highly sought after and classic image.

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51 THE PIKI MAKER - WALPI, 1906 [Walpi, Southwest] Silver gelatin print - toned Negative Date: 1906, Print Date: ca. 1906 13 7/8 x 10 11/16 in. (35.24 x 27.15 cm.) This is a toned print, on luster surface silver gelatin paper, and mounted to vintage board. $4,000 – $6,000

Silver gelatin print - toned Negative Date: 1903, Print Date: 1903 13 3/4 x 18 3/8 in. (34.93 x 46.67 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1903 BY E.S. CURTIS This is a toned print on double-weight, semi-matte surface silver gelatin paper. $3,000 – $5,000 SANTA FE ART AUCTION

LARGE SILVER GELATIN PRINTS – TONED

52 STORY TELLING - APACHE, 1903 [Apache, Southwest]

LARGE SILVER GELATIN PRINTS – TONED

53 UNTITLED (VARIANT OF CAÑON DEL MUERTO NAVAHO), 1906 [Navajo, Southwest] Silver gelatin print - toned Negative Date: 1906, Print Date: ca. 1906 9 x 12 1/4 in. (22.86 x 31.12 cm.) Signed, in black ink at lower right on print recto: Curtis This is a toned print, on matte surface silver gelatin paper, and mounted to vintage board. $2,000 – $3,000

54 UNTITLED (APACHE CAMP), 1903 [Apache, Southwest] Silver gelatin print - toned Negative Date: 1903, Print Date: ca. 1903 13 5/8 x 17 7/8 in. (34.61 x 45.40 cm.) In the negative at lower left on print recto: X886 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS This is a toned print, on textured, luster surface silver gelatin paper, and mounted to vintage board. $1,000 – $2,000

55 AMONG THE OAKS - APACHE (CROP VARIANT), 1903 [Apache, Southwest] Silver gelatin print - toned Negative Date: 1903, Print Date: ca. 1903 10 3/4 x 17 7/8 in. (27.31 x 45.40 cm.) In the negative at lower left on print recto: X891 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS This is a toned print, on textured, luster surface silver gelatin paper, and mounted to vintage board. $2,000 – $3,000

56 A HILLTOP CAMP - JICARILLA, 1904 [Jicarilla, Southwest] Silver gelatin print - toned Negative Date: 1904, Print Date: ca. 1904 11 15/16 x 16 3/4 in. (30.32 x 42.55 cm.) In negative at lower left on print recto: X1288-04 This is a toned print, on double-weight, luster surface silver gelatin paper. This image was printed using a negative created using half-tone technology of the period, which Curtis experimented with for a short time. The result is the presence of a pattern of fine, evenly spaced dots, primarily in the midtones, that can be seen upon close inspection. $2,000 – $3,000 30

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57 AT THE GATEWAY - ACOMA, 1904 [Acoma, Southwest] Silver gelatin print - toned Negative Date: 1904, Print Date: ca. 1904 13 7/16 x 17 15/16 in. (34.13 x 45.56 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1904 BY E.S. CURTIS In the negative at lower left on print recto: X1163-04 This is a toned print, on luster surface silver gelatin paper, and mounted to vintage board. This image was printed using a negative created using half-tone technology of the period, which Curtis experimented with for a short time. The result is the presence of a pattern of fine, evenly spaced dots, primarily in the mid-tones, that can be seen upon close inspection. $1,500 – $2,500

58 A GRAY DAY IN THE BAD LANDS, 1905 [Sioux, Great Plains]

$2,000 – $3,000

59 NATIVE AMERICANS AND PLOW [Unknown, Great Plains] Silver gelatin print - toned Negative Date: Unknown, Print Date: Unknown 10 3/16 x 13 1/2 in. (25.88 x 34.29 cm.) This is a blue-toned print on double-weight, semi-matte surface silver gelatin paper. $1,500 – $2,500

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LARGE SILVER GELATIN PRINTS – TONED

Silver gelatin print - toned Negative Date: 1905, Print Date: 1905 13 5/16 x 18 1/8 in. (33.81 x 46.04 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1455-05 This is a toned print, on single-weight, textured, luster surface silver gelatin paper. This image was printed using a negative created using half-tone technology of the period, which Curtis experimented with for a short time. The result is the presence of a pattern of fine, evenly spaced dots, primarily in the mid-tones, that can be seen upon very close inspection.

LARGE SILVER GELATIN PRINTS – TONED

60 THE OATH, 1908 [Apsaroke, Great Plains] Silver gelatin print - toned Negative Date: 1908, Print Date: ca. 1908 12 15/16 x 9 15/16 in. (32.86 x 25.24 cm.) Mount: 12 15/16 x 10 in. (32.86 x 25.40 cm.) In the negative at lower left on print recto: X2627-08 $500 – $1,000 This is an important Curtis image and was chosen as the frontispiece for Volume IV of The North American Indian. This is also one of Curtis’ most sought after images. It is a classic Northern Plains image that combines both a beautiful landscape and a compelling ceremony. In this photograph the Apsaroke warrior takes an oath of truth and honor while two other warriors act as witnesses. The Oath requires the man to thrust an arrow through a piece of meat, place it upon a red-painted buffalo skull, raise it toward the sun and, if his words are true, touch the meat to his mouth. The ceremony was intended for use with difficult or controversial communications to help insure both the veracity and good intentions of the speaker. This is a toned print, on matte surface silver gelatin paper, and mounted to vintage board. (Appears in TNAI Volume IV, 1909, offered as lot 314)

61 UNTITLED (APACHE CAMP), 1903 [Apache, Southwest] Silver gelatin print - toned Negative Date: 1903, Print Date: 1903 13 x 17 3/4 in. (33.02 x 45.09 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1903 BY E.S. CURTIS This is a toned print, on textured, luster surface silver gelatin paper, and mounted to vintage board. $500 – $1,000

62 UNTITLED (VARIANT OF THE WEDDING PARTY - QÁGYUHL), 1914 [Qágyuhl, Northwest] Silver gelatin print - toned Negative Date: 1914, Print Date: ca. 1914 12 9/16 x 16 in. (31.91 x 40.64 cm.) Copyright blind stamp, at lower left on print recto: © E.S. CURTIS SEATTLE This is a toned print on double-weight, matte surface silver gelatin paper. $1,500 – $2,500

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63 A ZUNI WOMAN, 1903 [Zuni, Southwest]

$3,000 – $5,000 This classic Curtis portrait is as unusual as it is striking. Its apparent simplicity and symmetry belie a complex and powerful image. The woman is carrying a stunning food vessel, as would be done for a feast after a ceremonial ritual. The stylized animal figures are typical of Zuñi pottery, which in this case is supported on her head by a woven yucca ring. Today the Zuñi are world famous for their beautiful pottery which is collected internationally. Regarded as the highest form of photographic printing by many serious collectors, the process is both expensive and difficult, thus platinum prints are inherently rare, but also exceptionally stable. Because the platinum solution actually permeates the paper, rather than being suspended above it, as in most photographic mediums, the platinum image appears to be integrated within the paper itself. Platinum prints nevertheless comprise under half of one percent of extant Curtis prints. SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

Platinum print Negative Date: 1903, Print Date: 1903 7 3/4 x 6 1/16 in. (19.69 x 15.40 cm.) In negative at lower left on print recto: X817 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS

SMALL PLATINUM PRINTS

64 A ZUNI GOVERNOR, 1903 [Zuni, Southwest] Platinum print Negative Date: 1903, Print Date: 1903 7 5/8 x 4 3/4 in. (19.37 x 12.07 cm.) Double Mount: 8 x 5 1/16 in. (20.32 x 12.86 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS In negative at lower left on print recto: X842-03 Label on verso at upper margin: Navajos $3,000 – $5,000

65 THE APACHE MAIDEN, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 7 13/16 x 5 11/16 in. (19.84 x 14.45 cm.) Double Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1940-06 Studio copyright sticker at lower left on mount verso $3,000 – $5,000

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66 THE POOL - APACHE, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 7 1/2 x 5 9/16 in. (19.05 x 14.13 cm.) Double Mount: 13 3/8 x 9 15/16 in. (33.97 x 25.24 cm.) Signed, in brown ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1887-06 In blue ink script at upper left of mount verso: Primitive Cife $2.50 $3,000 – $5,000

67 A HOPI MAN, 1904 [Hopi, Southwest]

$5,000 – $7,000 In the years that followed receiving J.P. Morgan's commission, Curtis demonstrated a particularly deep interest in the Hopi and Navajo peoples of the Southwest. His time among the Hopi was extensive and allowed opportunity for even more focus on great portraiture as is evident in this study.

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SMALL PLATINUM PRINTS

Platinum print Negative Date: 1904, Print Date: 1904 7 1/2 x 5 13/16 in. (19.05 x 14.76 cm.) Single Mount: 7 7/8 x 6 1/16 in. (42.86 x 15.4 cm.) Signed, in brown ink at lower right on print recto: Curtis (faint) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1091-04

SMALL PLATINUM PRINTS

68 MOSQUITO HAWK - ASSINIBOIN, 1908 [Assiniboin, Great Plains] Platinum print Negative Date: 1908, Print Date: 1908 7 5/8 x 5 7/16 in. (19.37 x 13.81 cm.) Single Mount: 13 1/2 x 9 15/16 in. (34.29 x 25.24 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2449-08 Studio copyright sticker at lower left on mount verso In black ink script at upper left on mount verso: X2449 Mosquito Hawk $4,000 – $6,000 Mosquito Hawk is an Assiniboine - a member of the Sioux nation, one of the fiercest and most famous of the Northern Plains tribes. Its beauty and simplicity help make this a highly desirable Curtis portrait. The subject's personal strength and classic profile enhance the portrait's beauty. The simplicity of the classic composition and lighting further enhance the image. “Born on the Missouri below Williston, North Dakota. When he was 14 he followed a war-party but gained no honors. On his next four Expeditions he had as little success, but on the next he killed a Sioux. He fought against the Piegan, killing two, taking a scalp and counting a first coup. In another battle with the Piegan he killed one, counted coup and took a scalp. he married at seventeen” – The North American Indian.

69 A NAVAHO CHILD, 1903 [Navajo, Southwest] Platinum print Negative Date: 1903, Print Date: ca. 1903 7 9/16 x 5 9/16 in. (19.21 x 14.13 cm.) Double Mount: 8 1/4 x 6 1/16 in. (20.96 x 15.40 cm.) In negative at lower left on print recto: X972 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS Studio copyright sticker at lower left on mount verso In black ink on mount verso: Navaho Child $4,000 – $6,000 This compelling portrait of a young Navajo child was made in 1903, at the beginning of Curtis’ career. Curtis’ platinum prints of children are very rare and this one is particularly evocative and direct. The child looks directly at the camera and is clothed in a simple blanket. It is believed that fewer than 1 in 500 Curtis platinum prints are of children. With its original mounts, this is an unusually desirable example. This print was included in the ground-breaking exhibition, “Sacred Legacy: Edward S. Curtis and the North American Indian”, which traveled throughout Europe in the early 2000s. This print was created by hand in Curtis’ Seattle studio, and may be unique.

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70 A SNAKE PRIEST - HOPI (VARIANT), 1900 [Hopi, Southwest] Platinum print Negative Date: 1900, Print Date: 1900 7 3/4 x 5 7/8 in. (19.69 x 14.92 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1900 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X672 Copyright in the negative, lower left on print recto: COPYRIGHT 1900 BY E.S. CURTIS In black ink script at upper left of mount verso: X2505 The Medicine Man (Slow Bull) Sioux $4,000 – $6,000

71 NESJAJA HATALI - NAVAHO, 1904 [Navajo, Southwest]

$3,000 – $5,000 The knowledge of an oracle, heart of a crusader, and patient gaze of a teacher. Hatali represented all of these to the Navajo people. In his youth he fought alongside Geronimo, and during his lifetime he gathered the wisdom of a medicine man. After the Navajo nation surrendered (1866), he rose to prominence as a leader. Here we see his chosen adornments from all the phases of his being; symbolic dragonflies, objects of trade, and the enduring beadwork traditions of his people.

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SMALL PLATINUM PRINTS

Platinum print Negative Date: 1904, Print Date: 1904 7 7/8 x 5 15/16 in. (20 x 15.08 cm.) Signed, in wax pencil at lower right on print recto: Curtis (faint) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X983-04

SMALL PLATINUM PRINTS

72 UNTITLED (BRAVE KNEELING BY WATER), 1905 [Asparoke, Great Plains] Platinum print Negative Date: 1905, Print Date: 1905 7 1/2 x 5 7/8 in. (19.05 x 14.92 cm.) Triple Mount: 13 1/8 x 10 in. (33.34 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1337-05 Studio copyright sticker at lower left on mount verso $3,000 – $4,000

73 HOMEWARD - PUGET SOUND, 1898 [Puget Sound, Northwest] Platinum print Negative Date: 1898, Print Date: 1898 5 15/16 x 7 3/4 in. (15.08 x 19.69 cm.) Double Mount: 10 5/16 x 11 1/4 in. (26.19 x 28.58 cm.) Signed, in black ink at lower right on print recto: Curtis In negative at lower left on print recto: X851 A Copyright in the negative, lower left on print recto: COPYRIGHTED 1898 In black ink script at upper left of mount verso: Homeward Siwash $3,000 – $5,000 This was one of Curtis’ very earliest Native American photographs and also one of his earliest award-winning images. Thus, this photograph, taken in Puget Sound, is historically one of Curtis’ most important and played a key role in launching his thirty-year career. This massive canoe was made from a single dugout tree trunk. Canoes were extremely important to many Native American tribes and particularly so in the Pacific Northwest, where survival was often dependent on food gathered from the sea. The dramatic qualities of the clouds and sky are enhanced by the platinum process. This print was included in the ground-breaking exhibition, “Sacred Legacy: Edward S. Curtis and the North American Indian”, which traveled throughout Europe in the early 2000s. 38

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74 APACHE GUAN, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 3/4 x 7 15/16 in. (14.61 x 20.16 cm.) Single Mount: 6 1/4 x 8 1/8 in. (15.88 x 20.64 cm.) Signed, in brown ink at lower right on print recto: Curtis (very faint) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1925-06 $3,000 – $5,000

75 THE POOL - APACHE, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 7 7/16 x 5 7/8 in. (18.89 x 14.92 cm.) Double Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1887-06 Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: The Pool - Apache $3,000 – $5,000

Platinum print Negative Date: 1906, Print Date: 1906 5 5/16 x 7 13/16 in. (13.49 x 19.84 cm.) Double Mount: 11 x 12 7/16 in. (27.94 x 31.59 cm.) Signed, in brown ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2012-06 $2,500 – $3,500

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SMALL PLATINUM PRINTS

76 EVENING ON THE SAND DUNES, 1906 [Hopi, Southwest]

SMALL PLATINUM PRINTS

77 THE MORNING BATH - APACHE, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 1/2 x 9 9/16 in. (13.97 x 24.29 cm.) Double Mount: 10 15/16 x 12 1/2 in. (27.78 x 31.75 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1904 - 06 In black ink script at upper left of mount verso: Apache Bather - The Morning Bath $2,500 – $3,500

78 UNTITLED (MALE PORTRAIT WITH FEATHER), 1908 [Unknown, Great Plains] Platinum print Negative Date: 1908, Print Date: 1908 7 5/8 x 5 11/16 in. (19.37 x 14.45 cm.) Single Mount: 13 3/8 x 9 13/16 in. (33.97 x 24.92 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2697-08 Studio copyright sticker at lower left on mount verso $2,500 – $3,500

79 STILL LIFE - PUGET SOUND, 1899 [Puget Sound, Northwest]

80 SUNSET IN NAVAHO LAND, 1904 [Navajo, Southwest]

Platinum print Negative Date: 1899, Print Date: 1899 5 9/16 x 7 3/4 in. (14.13 x 19.69 cm.) Double Mount: 7 9/16 x 9 1/2 in. (19.21 x 24.13 cm.) Signed, in brown ink at lower right on print recto: Curtis (very faint) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1899 BY E.S. CURTIS In negative at lower right on print recto: X830

Platinum print Negative Date: 1904, Print Date: 1904 5 7/8 x 7 13/16 in. (14.92 x 19.84 cm.) Double Mount: 6 3/16 x 8 in. (15.72 x 20.32 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1042-04

(Appears in TNAI Volume IX, 1913, offered as lot 315)

$2,500 – $3,500

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81 NESPILIM GIRL, 1905 [Nespilim, Northwest]

82 UNTITLED (JICARILLA CHILD), 1904 [Jicarilla, Southwest]

Platinum print Negative Date: 1905, Print Date: 1905 7 3/4 x 5 11/16 in. (19.69 x 14.45 cm.) Single Mount: 8 1/8 x 5 15/16 in. (20.64 x 15.08 cm.) Signed, in brown ink at lower right on print recto: Curtis (faint) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1567-05

Platinum print Negative Date: 1904, Print Date: 1904 8 1/16 x 6 1/4 in. (20.48 x 15.88 cm.) Sheet: 8 1/2 x 6 1/2 in. (21.59 x 16.51 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS

$2,500 – $3,500

Platinum print Negative Date: 1900, Print Date: 1900 7 3/4 x 5 3/8 in. (19.69 x 13.65 cm.) Single Mount: 8 1/16 x 5 9/16 in. (20.48 x 14.13 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1900 BY E.S. CURTIS In white ink at lower left on mount recto: Zuni Girls $2,000 – $3,000

SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

83 ZUNI GIRLS, 1900 [Zuni, Southwest]

SMALL PLATINUM PRINTS 84 MOHAVE POTTER, 1907 [Mojave, Southwest]

85 ZUNI BREAD MAKER, 1903 [Zuni, Southwest]

Platinum print Negative Date: 1907, Print Date: 1907 7 15/16 x 5 15/16 in. (20.16 x 15.08 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2154 - 07 Studio copyright sticker at lower left on mount verso

Platinum print Negative Date: 1903, Print Date: 1903 6 1/16 x 8 in. (15.40 x 20.32 cm.) Triple Mount: 10 7/8 x 12 7/16 in. (27.62 x 31.59 cm.) Signed, in black ink at lower right on print recto: Curtis Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X921 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS In white ink at lower left on mount recto: Zuni Breadmaker

$2,500 – $3,500

$2,000 – $3,000

86 UNTITLED (FEMALE PORTRAIT BY TREE), 1907 [Unknown, Great Plains] Platinum print Negative Date: 1907, Print Date: 1907 7 9/16 x 5 3/4 in. (19.21 x 14.61 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE $2,000 – $3,000

SANTA FE ART AUCTION

87 BIG OX - APSAROKE, 1908 [Apsaroke, Great Plains]

88 BIG OX - APSAROKE (VARIANT), 1908 [Apsaroke, Great Plains]

Platinum print Negative Date: 1908, Print Date: 1908 7 13/16 x 5 7/8 in. (19.84 x 14.92 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED .... BY E.S. CURTIS In negative at lower left on print recto: X2790-08 Studio copyright sticker at lower left on mount verso

Platinum print Negative Date: 1908, Print Date: 1908 7 3/4 x 5 7/8 in. (19.69 x 14.92 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2693-08 Studio copyright sticker at lower left on mount verso

(Appears in TNAI Volume IV, 1909, offered as lot 314) $2,500 – $3,500

Platinum print Negative Date: 1908, Print Date: 1908 7 3/4 x 5 11/16 in. (19.69 x 14.45 cm.) Single Mount: 13 3/8 x 9 7/8 in. (33.97 x 25.08 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2081-08 $2,000 – $3,000

SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

89 LONE TREE - APSAROKE, 1908 [Apsaroke, Great Plains]

$2,000 – $3,000

SMALL PLATINUM PRINTS 90 UNTITLED (GREAT PLAINS MALE PORTRAIT), 1907 [Unknown, Great Plains]

91 FOUR HORNS - ARIKARA, 1908 [Arikara, Great Plains]

Platinum print Negative Date: 1907, Print Date: 1907 7 13/16 x 5 5/8 in. (19.84 x 14.29 cm.) Single Mount: 12 15/16 x 9 11/16 in. (32.86 x 24.61 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X...-07 (partial) Studio copyright sticker at lower left on mount verso

Platinum print Negative Date: 1908, Print Date: 1908 7 9/16 x 5 7/8 in. (19.27 x 14.92 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2895-08 In black ink: Four Horns

$2,000 – $3,000

$2,000 – $3,000 Four Horns was born in 1847 near Fort Berthold, and at the age of 14 he accompanied a war party against the Sioux. Later that summer he led a party in pursuit of Chippewa Warriors who had murdered a Hidatsa. Twice he joined in successful pursuit of Sioux horse raiders. He fasted several times. He participated in the Sundance numerous times. Four Horns married at the age of 15, being eligible to do so by reason of his experience in war gained during the previous year. This portrait is notable because the subject is devoid of regalia, visible clothing and ceremonial objects. It is simply the warrior and the camera, a testament to his strength and dignity.

92 NAVAHO MEDICINE MAN, 1904 [Navajo, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 7 7/8 x 6 in. (20 x 15.24 cm.) Single Mount: 8 1/8 x 6 3/16 in. (20.64 x 15.72 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X997 Copyright in the negative, lower left on print recto: COPYRIGHT 1904 By E.S. CURTIS $2,000 – $3,000

SANTA FE ART AUCTION

93 HAVCHACH - YUMA, 1907 [Yuma, Southwest] Platinum print Negative Date: 1907, Print Date: 1907 7 15/16 x 5 1/2 in. (20.16 x 13.97 cm.) Single Mount: 8 1/8 x 5 3/4 in. (20.64 x 14.61 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X2365-07

94 BY THE ARROW I HAVE SAID IT, 1909 Platinum print Negative Date: 1909, Print Date: ca. 1909 6 x 3 15/16 in. (15.24 x 10 cm.) Single Mount: 12 x 9 in. (30.48 x 22.86 cm.) $2,000 – $3,000

$2,000 – $3,000

Platinum print Negative Date: 1906, Print Date: 1906 8 x 5 15/16 in. (20.32 x 15.08 cm.) Single Mount: 13 x 10 in. (33.02 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2112-06 $2,000 – $3,000

SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

95 UNTITLED (HOPI SNAKE PRIEST), 1906 [Hopi, Southwest]

SMALL PLATINUM PRINTS

96 TONENILI, TOBADIZISCHINI, NAYENEZGANI - NAVAHO, 1904 [Navajo, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 7/8 x 7 11/16 in. (14.92 x 19.53 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1083-04 $2,000 – $3,000

97 WATCHING THE MORNING RACES, 1904 [Navajo, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 15/16 x 7 3/4 in. (15.08 x 19.69 cm.) Double Mount: 6 1/4 x 7 15/16 in. (15.88 x 20.16 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1105-04 Studio copyright sticker at lower left on mount verso In black ink script at upper margin of mount verso: Watching the Morning Races $2,000 – $3,000

98 CAMP UNDER THE COTTONWOODS - CROW MONTANA, 1908 [Crow, Great Plains] Platinum print Negative Date: 1908, Print Date: 1908 7 1/2 x 5 7/8 in. (19.05 x 14.92 cm.) Single Mount: 13 1/2 x 9 15/16 in. (34.29 x 25.24 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2740 - 08 Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: Camp Under the Cottonwoods - Crow Montana $2,000 – $3,000

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99 MESCAL HILLS - APACHE, 1906 [Apache, Southwest] Platinum print Negative Dates: 1906, Print Dates: 1906 5 13/16 x 7 15/16 in. (14.76 x 20.16 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1927-06 In black ink script at upper left of mount verso: Mescal Hills Apache $1,500 – $2,500

100 AMONG THE OAKS - APACHE (APACHE WOMAN PASSING OAK ROW), 1903 [Apache, Southwest] Platinum print Negative Date: 1903, Print Date: 1903 5 1/8 x 7 15/16 in. (13.02 x 20.16 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X891 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS Studio copyright sticker at lower left on mount verso In white ink at lower left on mount recto: Apache Woman Passing Oak Row $1,500 – $2,500

101 THROUGH THE CANYON DEPTHS, 1904 [Navajo, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 1/16 x 7 15/16 in. (12.86 x 20.16 cm.) Double Mount: 6 5/8 x 8 7/16 in. (16.83 x 21.43 cm.) In negative at lower left on print recto: X1005 Copyright in the negative, lower left on print recto: COPYRIGHT 1904 BY E.S. CURTIS $1,500 – $2,500

103 NAVAHO RACES, 1904 [Navajo, Southwest]

Platinum print Negative Date: 1904, Print Date: 1904 4 x 7 11/16 in. (10.16 x 19.53 cm.) Double Mount: 4 3/4 x 8 1/4 in. (12.07 x 20.96 cm.) Signed, in ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1026-04

Platinum print Negative Date: 1904, Print Date: 1904 3 7/16 x 8 in. (8.73 x 20.32 cm.) Double Mount: 4 3/16 x 8 1/2 in. (10.64 x 21.59 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1026-04 Studio copyright sticker at lower left on mount verso In black ink script, upper left corner on mount verso: Navaho Races

$1,500 – $2,500 SANTA FE ART AUCTION

$1,500 – $2,500 47

SMALL PLATINUM PRINTS

102 NAVAHO RACES, 1904 [Navajo, Southwest]

SMALL PLATINUM PRINTS 104 A ZUNI DOORWAY, 1903 [Zuni, Southwest]

105 YAHN AT THE GRINDING STONE, CA. 1900 [Walpi, Southwest]

Platinum print Negative Date: 1903, Print Date: ca. 1903 7 7/8 x 5 5/8 in. (20 x 14.29 cm.) Double Mount: 8 9/16 x 6 1/8 in. (21.75 x 15.56 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED ..... BY E.S. CURTIS In negative at lower left quadrant on print recto: X812

Platinum print Negative Date: ca. 1900, Print Date: ca. 1900 6 1/16 x 3 15/16 in. (15.40 x 10 cm.), Single Mount: 11 15/16 x 8 15/16 in. (30.32 x 22.70 cm.) $1,500 – $2,500

$1,500 – $2,500

106 POTTER BUILDING HER KILN (NAMPEYO), 1906 [Hopi, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 7 15/16 in. (14.92 x 20.16 cm.) Single Mount: 10 15/16 x 12 1/2 in. (27.78 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: 1978-06 Studio copyright sticker at lower left on mount verso $1,500 – $2,500

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107 MARCOS - PALM CANYON - CAHUILLA, 1905 [Cahuilla, California]

109 MRS. MARCOS UNDER THE PALMS, 1905 [Cahuilla, California]

Platinum print Negative Date: 1905, Print Date: 1905 7 9/16 x 5 11/16 in. (19.21 x 14.45 cm.) Single Mount: 8 x 5 7/8 in. (20.32 x 14.92 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1609-05

Platinum print Negative Date: 1905, Print Date: 1905 7 13/16 x 5 15/16 in. (19.84 x 15.08 cm.) Triple Mount: 8 1/8 x 6 1/16 in. (20.64 x 15.40 cm.) Signed, in brown ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1608-05 Studio copyright sticker at lower left on mount verso In black ink script at upper margin of mount verso: Mrs Marcos Among the Palms In black ink script on mount verso: In the palm canyons of Southern California, a Cahuilla Indian woman. The Cahuillaís live in the canyon among the palms.

$2,000 – $3,000

$1,500 – $2,500

Platinum print Negative Date: 1905, Print Date: 1905 7 7/8 x 5 3/4 in. (20 x 14.61 cm.) Double Mount: 8 1/4 x 5 15/16 in. (20.96 x 15.08 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1614-05 $1,500 – $2,500 SANTA FE ART AUCTION

110 MODERN HOUSES AT PALM SPRINGS - CAHUILLA, 1905 [Cahuilla, California] Platinum print Negative Date: 1905, Print Date: 1905 6 x 8 in. (15.24 x 20.32 cm.) Double Mount: 6 3/8 x 8 3/16 in. (16.19 x 20.80 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS $1,000 – $1,500

SMALL PLATINUM PRINTS

108 A WOMAN OF PALM SPRINGS - CAHUILLA (VARIANT) (WIFE OF MARCOS - PALM CANYON CAHUILLA), 1905 [Cahuilla, California]

SMALL PLATINUM PRINTS

111 MISSION AND CHURCH AT ACOMA (THE OLD MISSION AT ACOMA), 1904 [Acoma, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 3/4 x 8 in. (14.61 x 20.32 cm.) Double Mount: 6 7/16 x 8 1/2 in. (16.35 x 21.59 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In white ink at lower left on mount recto: The Old Mission at Acoma $1,000 – $2,000

112 ON A WALPI HOUSETOP (VARIANT), 1906 [Walpi, Southwest]

113 NAVAHO RUINS, 1907 [Navajo, Southwest]

Platinum print Negative Date: 1906, Print Date: 1906 8 1/16 x 6 1/16 in. (20.48 x 15.40 cm.) Sheet: 8 1/2 x 6 7/16 in. (21.59 x 16.35 cm.) In negative at lower left on print recto: X1965-06

Platinum print Negative Date: 1907, Print Date: 1907 8 x 6 in. (20.32 x 15.24 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X2073-07

$1,000 – $2,000

SANTA FE ART AUCTION

114 MOHAVE CHIEF, 1903 [Mojave, Southwest]

115 UNTITLED (MALE PORTRAIT), 1904 [Unknown]

Platinum print Negative Date: 1903, Print Date: 1903 7 7/8 x 6 in. (20 x 15.24 cm.) Single Mount: 8 5/16 x 6 1/4 in. (21.11 x 15.88 cm.) Signed, in brown ink at lower right on print recto: Curtis In negative at lower left on print recto: X976 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS

Platinum print Negative Date: 1904, Print Date: 1904 8 1/4 x 4 1/2 in. (20.96 x 11.43 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS $1,500 – $2,500

$1,000 – $2,000

Platinum print Negative Date: 1908, Print Date: 1908 7 3/4 x 5 1/2 in. (19.69 x 13.97 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2694-08 Studio copyright sticker at lower left on mount verso $1,500 – $2,500

SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

116 UNTITLED (MALE PORTRAIT), 1908 [Unknown]

SMALL PLATINUM PRINTS

117 YEBICHAI - INITIATION, 1904 [Yebichai, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 1/8 x 7 7/8 in. (13.02 x 20 cm.) Single Mount: 5 7/16 x 8 1/16 in. (13.81 x 20.48 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In white ink at lower left on mount recto: Yebichai Initiation $1,500 – $2,500

118 YEBICHAI SWEAT - NAVAHO MEDICINE CEREMONY, 1904 [Yebichai, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 5 15/16 x 7 15/16 in. (15.08 x 20.16 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1080-04 Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: 1080 Yebichai Sweat - Navaho Medicine Ceremony $1,000 – $2,000

119 ON THE MARCH - APACHE, 1904 [Apache, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 4 9/16 x 7 3/16 in. (11.59 x 18.26 cm.) Single Mount: 5 x 7 3/8 in. (12.70 x 18.73 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1254-04 $1,000 – $1,500 52

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120 APACHE STILL LIFE, 1903 [Apache, Southwest]

121 AMONG THE OAKS - APACHE, 1903 [Apache, Southwest]

Platinum print Negative Date: 1903, Print Date: 1903 6 x 8 in. (15.24 x 20.32 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS In negative at lower left on print recto: X882 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS Studio copyright sticker at lower left on mount verso In white ink at lower left on mount recto: Apache Still Life

Platinum print Negative Date: 1903, Print Date: 1903 5 13/16 x 7 13/16 in. (14.76 x 19.84 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X891 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: X891 Among the Oaks Apache

$1,000 – $2,000

Platinum print Negative Date: 1903, Print Date: 1903 6 x 8 in. (15.24 x 20.32 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X891 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: Among the Oaks - Apache $1,000 – $2,000

SANTA FE ART AUCTION

SMALL PLATINUM PRINTS

122 AMONG THE OAKS - APACHE, 1903 [Apache, Southwest]

SMALL PLATINUM PRINTS

123 MESCAL HILLS - APACHE, 1906 [Apache, Southwest]

124 THE BATHING POOL - APACHE, 1906 [Apache, Southwest]

Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 7 7/8 in. (14.92 x 20 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1927-06 Studio copyright sticker at lower left on mount verso In white ink at lower left on mount recto: Mescal Hills

Platinum print Negative Date: 1906, Print Date: 1906 5 11/16 x 7 3/4 in. (14.45 x 19.69 cm.) Single Mount: 11 x 12 7/16 in. (27.94 x 31.59 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1860-06 Studio copyright sticker at lower left on mount verso

$1,000 – $2,000

125 A BREEZY DAY AT THE RIVER, 1905 [San Ildefonso, Southwest]

126 PRIMITIVE TRANSPORTATION - MOHAVE, 1907 [Mojave, Southwest]

Platinum print Negative Date: 1905, Print Date: 1905 6 x 7 15/16 in. (15.24 x 20.16 cm.) Double Mount: 10 7/8 x 12 1/2 in. (27.62 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1905 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1737-05 Studio copyright sticker at lower left on mount verso In white ink at lower left on mount recto: A Breezy Day at the River - San Ildefonso In brown ink at upper margin of print verso: A Breezy Day at the River - San Ildefonso Tewa X1737

Platinum print Negative Date: 1907, Print Date: 1907 5 7/8 x 7 13/16 in. (14.92 x 19.84 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2158-07 Studio copyright sticker at lower left on mount verso

$1,000 – $2,000

$1,000 – $1,500

SANTA FE ART AUCTION

127 IN THE GRAY MORNING - SAN ILDEFONSO, 1905 [San Ildefonso, Southwest] Platinum print Negative Date: 1905, Print Date: 1905 5 13/16 x 7 13/16 in. (14.76 x 19.84 cm.) Single Mount: 6 5/16 x 8 1/8 in. (16.03 x 20.64 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: 1741-05 $1,000 – $2,000

128 UNTITLED (MAN BY RIVER), 1908 [Unknown] Platinum print Negative Date: 1908, Print Date: 1908 7 5/8 x 5 13/16 in. (19.37 x 14.76 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2815-08 $1,000 – $2,000

130 A JICARILLA FEAST MARCH, 1904 [Jicarilla, Southwest]

Platinum print Negative Date: ca. 1909, Print Date: 1909 6 x 8 in. (15.24 x 20.32 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1909 BY E.S. CURTIS

Platinum print Negative Date: 1904, Print Date: 1904 5 1/2 x 7 13/16 in. (13.97 x 19.84 cm.) Single Mount: 5 7/8 x 8 in. (14.92 x 20.32 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS

$1,000 – $2,000

SANTA FE ART AUCTION

$1,000 – $2,000

SMALL PLATINUM PRINTS

129 A HILL CAMP - SPOKANE (VARIANT), 1909 [Spokane, Northwest]

SMALL PLATINUM PRINTS

131 A LOAD OF FUEL - ZUNI (A ZUNI BRINGING IN WOOD), 1903 [Zuni, Southwest] Platinum print Negative Date: 1903, Print Date: 1903 5 15/16 x 7 7/8 in. (15.08 x 20 cm.) Double Mount: 6 9/16 x 8 3/8 in. (16.67 x 21.27 cm.) Signed, in black ink at lower right on print recto: Curtis In negative at lower left on print recto: X824 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 E.S. CURTIS In white ink at lower left on mount recto: Zuni Bringing in Wood $1,000 – $2,000

132 WHITE MAN RUNS HIM, 1908 [Apsaroke, Great Plains]

133 TOBACCO CEREMONY - APSAROKE, CA. 1907 [Apsaroke, Great Plains]

Platinum print Negative Date: 1908, Print Date: 1908 7 1/8 x 5 1/8 in. (18.10 x 13.02 cm.) Single Mount: 13 3/8 x 9 7/8 in. (33.97 x 25.08 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2497-08 Studio copyright sticker at lower left on mount verso

Platinum print Negative Date: ca. 1907, Print Date: ca. 1907 7 7/16 x 5 3/8 in. (18.89 x 13.65 cm.) Single Mount: 13 1/2 x 10 in. (34.29 x 25.40 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED ..... BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2706 - 0. Studio copyright sticker at lower left on mount verso

(Appears in TNAI Volume III, 1908, offered as lot 311)

(Appears in TNAI Volume IV, 1909, offered as lot 314)

$1,000 – $2,000

$1,000 – $2,000 56

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134 NAVAHO WOMEN, 1906 [Navajo, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 8 in. (14.92 x 20.32 cm.) Double Mount: 10 7/8 x 12 7/16 in. (27.62 x 31.59 cm.) Signed, in brown ink at lower right on mount recto: Curtis (very faint) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X2068-06 Studio copyright sticker at lower left on mount verso $1,000 – $2,000

135 CHAIWA - TEWA, 1906 [Tewa, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 7 3/4 x 5 5/8 in. (19.69 x 14.29 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1964-06 $1,000 – $2,000

137 APACHE GIRL, 1906 [Apache, Southwest]

Platinum print Negative Date: 1904, Print Date: 1904 7 3/4 x 5 3/8 in. (19.69 x 13.65 cm.) Single Mount: 8 1/16 x 5 5/8 in. (20.48 x 14.29 cm.) Signed, in ink at lower right on print recto, visible upon close inspection: Curtis (very faint) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In white ink at lower left on mount recto: MOKI

Platinum print Negative Date: 1906, Print Date: 1906 7 5/8 x 5 1/2 in. (19.37 x 13.97 cm.) Single Mount: 8 1/8 x 5 3/4 in. (20.64 x 14.61 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1862-06

$1,000 – $2,000

This photograph is a rare and unusual Curtis platinum print. It is estimated that fewer than three or four exist. This is a more direct portrait than is typical for Curtis. The photograph was made in 1906 and is very early and unusual in the simple, spare clothing.

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$1,000 – $2,000

SMALL PLATINUM PRINTS

136 MOKI, 1904 [Hopi, Southwest]

SMALL PLATINUM PRINTS 138 UNTITLED (YOUNG MALE PORTRAIT), 1906 [Unknown, Southwest]

139 ANTONIO AZUL ("CHIEF"), 1907 [Pima, Southwest]

Platinum print Negative Date: 1906, Print Date: 1906 7 3/4 x 5 7/8 in. (19.69 x 14.92 cm.) Single Mount: 8 1/16 x 6 1/4 in. (20.48 x 15.88 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X2053-06

Platinum print Negative Date: 1907, Print Date: 1907 8 x 5 13/16 in. (20.32 x 14.76 cm.) In negative at lower left on print recto: X2213-07 $1,000 – $2,000

$1,000 – $2,000

140 INVOCATION - SIOUX, 1907 [Sioux, Great Plains] Platinum print Negative Date: 1907, Print Date: 1907 7 13/16 x 5 3/4 in. (19.84 x 14.61 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X2508-07 In graphite on print verso: Scout Invocation $500 – $1,000

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141 A BABY APSAROKE, 1908 [Apsaroke, Great Plains]

142 INFANT BURIAL - APACHE, 1906 [Apache, Southwest]

Platinum print Negative Date: 1908, Print Date: 1908 7 1/8 x 5 1/2 in. (18.10 x 13.97 cm.) Single Mount: 8 5/16 x 6 in. (21.11 x 15.24 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2790-08 Studio copyright sticker at lower left on mount verso

Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 7 7/8 in. (14.92 x 20 cm.) Double Mount: 10 15/16 x 12 1/2 in. (27.78 x 31.75 cm.) Signed, in black ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1857-06 Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: Infant Burial - Apache

$500 – $1,000

Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 7 15/16 in. (14.92 x 20.16 cm.) Double Mount: 10 15/16 x 12 7/16 in. (27.78 x 31.59 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1857-06 Studio copyright sticker at lower left on mount verso in white ink at lower left on mount recto: Apache Infant Burial $500 – $1,000

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SMALL PLATINUM PRINTS

143 INFANT BURIAL - APACHE, 1906 [Apache, Southwest]

SMALL PLATINUM PRINTS

144 APACHE VILLAGE, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 7/8 x 7 7/8 in. (14.92 x 20 cm.) Double Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1894-06 Studio copyright sticker at lower left on mount verso (Appears in TNAI Volume IV, 1909, offered as lot 314) $500 – $1,000

145 THE MESCAL PIT - APACHE, 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 5 5/8 x 7 3/4 in. (14.29 x 19.69 cm.) Single Mount: 10 7/8 x 12 1/2 in. (27.62 x 31.75 cm.) Signed, in brown ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1929-06 Studio copyright sticker at lower left on mount verso In black ink script at upper left of mount verso: X1929 The Mescal Pit Apache $500 – $1,000

146 A HOPI FLOCK, 1905 [Hopi, Southwest] Platinum print Negative Date: 1905, Print Date: 1905 4 1/2 x 8 in. (11.43 x 20.32 cm.) Single Mount: 4 5/16 x 8 3/16 in. (10.95 x 20.80 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: X1136-05 $800 – $1,200

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147 A HOPI FLOCK, 1906 [Hopi, Southwest]

148 UNTITLED (SOUTHWEST CAMP), CA. 1900 [Unknown, Southwest]

Platinum print Negative Date: 1906, Print Date: 1906 5 13/16 x 7 15/16 in. (14.76 x 20.16 cm.) Double Mount: 10 15/16 x 12 9/16 in. (27.78 x 31.91 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X1136-05 Studio copyright sticker at lower left on mount verso In white ink at lower left on mount recto: Hopi Shepard

Platinum print Negative Date: ca. 1900, Print Date: ca. 1907 5 3/4 x 7 9/16 in. (14.61 x 19.21 cm.) Single Mount: 10 15/16 x 11 15/16 in. (27.78 x 30.32 cm.) Signed, in black ink at lower right on mount recto: Curtis Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE Studio copyright sticker at lower left on mount verso $500 – $1,000

$500 – $1,000

150 GATHERING CACTUS FRUIT - PIMA, 1907 [Pima, Southwest]

Platinum print Negative Date: 1904, Print Date: 1904 5 7/8 x 8 in. (14.92 x 20.32 cm.) Single Mount: 6 5/16 x 8 1/4 in. (16.03 x 20.96 cm.) Signed, in black ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: X1081-04

Platinum print Negative Date: 1907, Print Date: 1907 7 15/16 x 5 7/8 in. (20.16 x 14.92 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X2249-07

$500 – $1,000

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$500 – $1,000

SMALL PLATINUM PRINTS

149 UNDER THE COTTONWOODS - NAVAHO, 1904 [Navajo, Southwest]

SMALL PLATINUM PRINTS

151 THE MOHAVE, 1907 [Mojave, Southwest] Platinum print Negative Date: 1907, Print Date: 1907 7 15/16 x 5 3/4 in. (20.16 x 14.61 cm.) Single Mount: 13 1/2 x 9 15/16 in. (34.29 x 25.24 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2141-07 Studio copyright sticker at lower left on mount verso In black ink script, upper left corner on mount verso: X2141 The Mohave $300 – $500

152 UNTITLED (HOPI MEN WITH DONKEYS AND PACKS), 1900 [Hopi, Southwest] Platinum print Negative Date: 1900, Print Date: 1900 5 3/4 x 7 3/8 in. (14.61 x 18.73 cm.) Single Mount: 9 3/4 x 11 3/4 in. (24.77 x 29.85 cm.) In negative at lower left on print recto: X768 Copyright in the negative, lower left on print recto: COPYRIGHT 1900 BY E.S. CURTIS $300 – $500

153 PAPAGO PRIMITIVE HOME, 1907 [Papago, Southwest] Platinum print Negative Date: 1907, Print Date: 1907 5 3/4 x 7 7/8 in. (14.61 x 20 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: X2293-07 Studio copyright sticker at lower left on mount verso $300 – $500

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154 ON THE HOUSETOP - WALPI, 1906 [Hopi, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 7 7/16 x 5 11/16 in. (18.89 x 14.45 cm.) Single Mount: 8 x 6 1/4 in. (20.32 x 15.88 cm.) Signed, in black ink at lower right on mount recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1967-06 $300 – $500

155 PEACH ORCHARD - HAVASUPAI, 1903 [Havasupai, Southwest] Platinum print Negative Date: 1903, Print Date: 1903 5 13/16 x 8 1/16 in. (14.76 x 20.48 cm.) Single Mount: 6 1/8 x 8 1/4 in. (15.56 x 20.96 cm.) Signed, in brown ink at lower right on print recto: Curtis In negative at lower left on print recto: X958 Copyright in the negative, lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS In white ink at lower left on mount recto: Peach Orchard - Havasupai $300 – $500

Platinum print Negative Date: 1907, Print Date: 1907 6 x 8 1/8 in. (15.24 x 20.64 cm.) Single Mount: 11 x 12 1/2 in. (27.94 x 31.75 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS Studio blind stamp, at lower left on mount recto: THE CURTIS STUDIO SEATTLE In negative at lower left on print recto: X2159-07 $300 – $500

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SMALL PLATINUM PRINTS

156 STONE MAZE - MOHAVE, 1907 [Mojave, Southwest]

SESSION II

1:30 PM MDT Lots 157 – 316

“It’s such a big dream, I can’t see it all.” — Edward S. Curtis

GOLDTONES 157 THE VANISHING RACE - NAVAHO, 1904 [Navajo, Southwest] Orotone on glass (goldtone) Negative Date: 1904, Print Date: ca. 1932 14 x 17 in. (35.56 x 43.18 cm.), Frame: 18 3/4 x 21 7/8 in. (47.63 x 55.56 cm.) Signed lower right in negative: Curtis L.A. Copyright at lower right in the negative Original narrative sticker at upper left on frame verso In original period frame $12,000 – $18,000 With few exceptions, Curtis printed goldtones in four sizes, ranging from 8 x 10 to 18 x 22 inches, although those larger than 11 x 14 are extremely rare.

Also known as an “orotone,” the goldtone was a hallmark of the Curtis studio. Even though Curtis pioneered and popularized this rarely used medium just after 1900, he printed fewer than one of every 500 of his negatives in this expensive and difficult process. The photograph is printed directly on sensitized glass instead of paper, processed, and then backed with a gold liquid wash or spray. Curtis was often able to achieve beautiful results, and his goldtones have become very valuable and highly sought after. “The ordinary photographic print, however good, lacks depth and transparency, or more strictly speaking, translucency. We all know how beautiful are the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage, yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless, so it is with the orthodox photographic print, but in the [goldtone] all the transparency is retained and they are as full of life and sparkle as an opal.” — Edward S. Curtis 66

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158 THE PIKI MAKER, 1906 [Hopi, Southwest] Orotone on glass (goldtone) Negative Date: 1906, Print Date: 1906 10 x 8 in. (25.40 x 20.32 cm.) Frame: 12 1/2 x 10 1/2 in. (31.75 x 26.67 cm.) Signed lower right in negative: Curtis In original period frame $4,000 – $6,000 A classic Curtis photograph of a Hopi woman making traditional flat bread (“Piki”). Piki is cornbread baked in colored sheets of paper-like thinness. The batter is spread on the baking-stone with the bare hand, and the quickly baked sheet is folded and laid on the basket at the baker’s left. Piki was a staple of the Hopi diet.

159 PRAYER TO THE STARS, CA. 1909 [Unknown, Southwest] Orotone on glass (goldtone) Negative Date: ca. 1909, Print Date: ca. 1909 11 x 14 in. (27.94 x 35.56 cm.) Frame: 19 x 15 5/8 in. (48.26 x 39.69 cm.) Signed lower right in negative: Curtis Copyright at lower left in the negative In original period frame $4,000 – $6,000

GOLDTONES

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IN CHRISTOPHER CARDOZO’S WORDS ... Edward Curtis was a renaissance man whose accomplishments were both extraordinary and unprecedented. He lived through a period replete with profound and dramatic changes. Only three years before his birth, the Civil War had ended, and yet by his death in 1952, atomic energy had been harnessed, television was in its infancy, and the United States had become the world’s dominant economic and political power. Photography had also been radically transformed from a slow, demanding, and expensive process practiced by few, to a broadly available medium with a wide variety of styles, methods, and techniques. In the summer of 1900, Curtis first encountered Native American culture in a state relatively unaltered by contact with Europeans. He witnessed one of the last performances of the Sun Dance ceremony and was given access to the sacred lives of numerous Native Americans. The coalescence of these three events created a profound shock wave that affected the very foundation of Curtis’ life, his values, and his beliefs. Having become deeply impassioned by the power and dignity of the American Indian, Curtis began to realize for the first time that he might create a record preserving the history of these magnificent people and their extraordinary culture. Curtis was thirty-two years old, with a family and a thriving business. His willingness to put at risk everything he had worked for up until then is a testament to his enlightened view of humanity, the strength of individualism, and his creative genius. Thus, beginning at the turn of the century, the seeds of one man’s inspiration ultimately grew into an immutable resolve to produce an indelible and irreplaceable record of Native American culture at a time when it was in serious decline. Yet Curtis had no way of knowing that he was about to embark on a thirty-year odyssey that would have unforeseen tragic consequences; his wife would divorce him, and he would lose his family, his financial success, and his physical and emotional health — all in the pursuit of his big dream. With the assistance and patronage of several preeminent individuals, including J.P. Morgan, Theodore Roosevelt, and kings of both England and Belgium, Curtis succeeded in creating a photo-ethnographic study that was widely hailed as the finest set of limited-edition books ever made in America. During this thirty-year project, Curtis made forty-five to fifty thousand negatives, many of them on glass and some as large as fourteen by seventeen inches. He produced ten thousand wax cylinder recordings of Native languages and music, and filmed the first, and some of the most extensive, moving-picture footage ever made of Native Americans. All of this culminated in his magnum opus, The North American Indian: a twenty-volume, twenty-portfolio set of books hand-bound in leather, with hand-set letter press text and hand-pulled photogravure prints, all printed on handmade, imported etching stock. The North American Indian contained more than 2,200 original photographs, printed in photogravure, and nearly 4,000 pages of anthropological text including transcriptions of language and music. Each set included twenty quarto-size volumes containing approximately seventy-five original photogravures and two hundred pages of text. The volumes were supplemented by bound portfolios, each containing approximately thirty-six oversize gravures on eighteen-by-twenty-two-inch etching stock. Curtis offered subscribers their choice of three premium handmade papers: Dutch Van Gelder, Japanese Vellum, and India Proof Paper (commonly known as tissue). Curtis believed the project would take him five to seven years; instead it took a quarter of a century. In today’s dollars, it required nearly $35 million to complete the project to the standards and specifications established by Curtis and his principal support, J.P. Morgan. Unfortunately, Morgan’s generous support, which ultimately greatly exceeded his initial commitments, was something of a double-edged sword. It gave Curtis enough money to begin the project, but also dissuaded other potential patrons from supporting it. Morgan’s contributions covered only about thirty-five percent of the final cost, forcing Curtis to struggle incessantly to raise funds. In reality, the undertaking was in financial trouble throughout the entire twenty-four-year period between 1906 and 1930, but Curtis constantly strived to keep his project afloat. Some share of responsibility for the great financial burden of the project can be placed on Curtis. While the logistical and financial requirements of the fieldwork were constant, the expenses related to publishing the books were staggering. The craftsmanship and the materials Curtis insisted on were of the highest possible quality, and his rigorous standards made each set of The North American Indian very expensive. In addition, Curtis selected the difficult and expensive process of photogravure for both the volume and the portfolio prints. This process allowed Curtis to make prints of great subtlety and beauty with a high degree of consistency, but the resulting expense of each set led to a steep shortfall in sales. Of a projected five hundred sets, less than three hundred were actually produced, and only two hundred fourteen were sold during Curtis’ involvement in the project. It is estimated that he needed to sell four hundred sets just to break even. By design, the photogravures were offered exclusively as part of the twenty-volume, twenty-portfolio set of The North American Indian; but during his extensive travels throughout the United States to lecture, Curtis actively promoted the sale of other kinds of original photographs. He was an exceptional photographic craftsman and a master printer, and, to make up for financial shortfalls he offered individual nongravure prints to the public. Curtis had experimented with a number of different photographic techniques, and this experience allowed him to create markets for photographs produced with a variety of processes, including platinum prints, silver prints, cyanotypes, goldtones, and hand colored prints. The intensity with which Curtis pursued his dream did little for his health or well-being. Having driven himself to the limit for many years, he suffered a nervous and physical breakdown in 1930, soon after the project was completed. Following his recovery two years later, he spent the last twenty years of his life in Los Angeles, and died in 1952, essentially unknown and penniless. At the time of Curtis’ death, The North American Indian project was by and large forgotten. It was not until the 1970s, when a growing public interest in Native Americans, the environment, and photography all coincided, that Curtis’ work resurfaced and was once again appreciated. With this revival came renewed high praise. Noted author and critic A.D. Coleman stated, “Curtis’ work stands as… an absolutely unmatched masterpiece of visual anthropology, and one of the most thorough, extensive, and profound photographic works of all time.” Curtis’ work is as widely respected and popular now as it was during its zenith between 1900 and 1915. A number of the original, complete sets of The North American Indian still exist and can be found in public and private collections both in the United States and Europe.

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Viewed in its entirety, The North American Indian presents an historical record of enormous importance. Edward S. Curtis has preserved for future generations an important era in American history and provided an opportunity to understand the Native American experience. Perhaps the most important legacy of Curtis’ monumental accomplishment is the expression of an extraordinary and deeply felt sympathy with the personal and spiritual lives of the American Indian. In this respect, Edward S. Curtis stands alone among the photographers of Native Americans. —

Christopher Cardozo, Excerpted from the introduction to Sacred Legacy: Edward S. Curtis and The North American Indian, Simon & Schuster, 2000.

CURTIS AND PICTORIALISM Pictorialism is generally considered to be the first serious broad-based fine-art movement in the history of photography. From the medium’s inception in 1839, through the 1880s, most photographers were primarily concerned with mastering their equipment and materials and documenting the physical world. However, photographers interested in using photography to explore artistic expression, the visual expression of emotional states, and beauty for beauty’s sake became more prominent and vocal as the nineteenth century progressed. They also sought ways to create “artistic” photographs to distinguish their imagery from the purely documentary work that dominated the field. By the late 1880s, these aesthetic trends had coalesced into a new visual language called Pictorialism. For Pictorialist photographers, expression and interpretation trumped descriptive documentation of subject matter. Pictorialists chose nontraditional subject matter and/ or greatly simplified their treatment of it. They actively incorporated aesthetic devices and elements from other art forms such as printmaking and painting, and adapted numerous Japanese methods of artistic expression and aesthetic interpretation. While Curtis was first and foremost a Pictorialist, his work was also strongly influenced by the Arts and Crafts movement, nineteenthcentury Western landscape photography, and the emerging field of ethnography. He created a substantial body of work that is fundamentally ethnographic and descriptive. However, the imagery with which he is so widely identified is his more Pictorialist work. He met Alfred Stieglitz and other fine-art photographers of the period, discussing photographic aesthetics and theory, and engaged in lively debates with a variety of practitioners through his writings in journals. Curtis also won numerous awards and prizes for his studio portraiture, landscape photography, Pictorialist work, and Native American projects. Among these were gold medals for his “Indian photographs” at the National Photographic Conventions of 1898 and 1899, as well as gold prizes in 1899 and 1900 in international competitions for fine-art photography. Pictorialism was at its zenith during the period from 1890 to 1910. As Curtis sought fuller expression as a photographer in the late 1890s, he naturally gravitated to the stylistic paradigms of Pictorialism, particularly given his great love of nature and the out-of-doors. Native Americans’ strong connection with nature, handcrafted clothing and objects, and their environment also made them compelling subjects for Curtis. While his early landscapes were primarily documentary, as was his later work on the 1899 Harriman Alaska Expedition, by the late 1890s his studio portraiture reflected his exploration of more interpretive, expressive elements. The daily lives and material culture of Native Americans and their relationship to the environment proved ideal arenas in which to develop his Pictorialist sensibility, and the resulting work became popular with clients and colleagues. Thus, Curtis often consciously chose to dramatically simplify his subject matter; create harmonious, classic compositions, and use striking, expressive lighting to achieve his desired end. From 1898 to 1900, there was a rapid progression in the Pictorialist approach to his subject matter, and by 1903–4 his style had fully matured. Interestingly, Curtis may be unique among well-known fine-art photographers in that his style and aesthetic were essentially fully formed early on and maintained with great fidelity throughout the remainder of his career. Curtis believed he could get closer to the truth of his Native American subject matter through the deployment of Pictorialist techniques than was possible through mere photographic recording. He was more concerned with creating a broad visual narrative to convey the essence and feel of what he saw and experienced than in documenting it. His real interest in the visual, photographic component of his multifaceted body of work was to convey a sense of who his Native American co-creators were in their essence; he wanted to show us their “true nature”—who they were in their hearts and souls, who they were and what they looked like before significant contact with Europeans. Toward that end, he found the expressive, interpretive, and aesthetic possibilities of Pictorialism perfectly suited to the task. Lastly, it should be noted that while the aesthetics of Pictorialism permeated Curtis’ imagery, he also created works for The North American Indian project that were more documentary than Pictorialist. Thus, while his heart was firmly with Pictorialism as a primary mode of expression, Curtis was adaptable enough to employ other forms when relevant, appropriate, or necessary. —

Christopher Cardozo, Excerpted from One Hundred Masterworks, Prestel, 2015

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THE NORTH AMERICAN INDIAN 160 THE NORTH AMERICAN INDIAN - VOLUMES I-XX, 1907–1930 Curtis, Edward S. (1868-1952), The North American Indian being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska. Edited by Fredrick Webb Hodge. Foreword by Theodore Roosevelt. Field Research conducted under the patronage of J. Pierpont Morgan. [Cambridge, Mass.], 1907-1930. 20 VOLUMES: Quarto-sized (313 x 239 mm): In publisher’s optional blue half morocco leather, gilt and buckrum, top edge gilding. Each volume individually housed in a custom, hand-made slipcase. Each numbered 146 on verso of the half-title page. COMPLETE TEXT VOLUMES: 1,511 hand-gravure printed illustrations, comprising 1,505 photogravures, including 35 hand-colored plates, 4 maps and 2 diagrams. Over three thousand pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. LIMITED EDITION, number 146 of 500 proposed Sets (of which only 214 were originally subscribed to, and only 272 sets ultimately produced), this copy on India Proof Paper (“tissue”) tipped-in on Dutch Van Gelder. The exact number of original subscriber Sets printed on tissue is not known but it is estimated to be fewer than 15. Edward Curtis, J.P. Morgan, E.H. Harriman and the King of England were among the few who received this premium version. This is a beautifully preserved Set of the original Volumes and in the very highest tier in terms of the print quality and condition. REFERENCES: Howes C-965; Roosens & Salu 2702; Truthful Lens 40. $150,000 – $250,000

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“I like a man who attempts the impossible.” — J.P. Morgan SANTA FE ART AUCTION

THE NORTH AMERICAN INDIAN

“The great changes in practically every phase of the Indian’s life that have taken place, especially within recent years, have been such that had the time for collecting much of the material, both descriptive and illustrative, herein recorded, been delayed, it would have been lost forever.“ — Edward S. Curtis

LARGE PLATINUM PRINTS 161 THE BASKET MAKER - PUGET SOUND, 1899 [Puget Sound, Northwest] Platinum print Negative Date: 1899, Print Date: 1899 12 1/2 x 15 7/16 in. (31.75 x 39.21 cm.) Copyright blind stamp, at lower left on print recto, faint: COPYRIGHTED 1899 BY E.S. CURTIS Copyright in the negative, at lower left on print recto: Curtis Copyright 853 (paritally retouched) $3,000 – $5,000

“Everything on the earth has a purpose…and every person a mission. This is the Indian theory of existence.” — Mourning Dove Salish 72

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162 UNTITLED (TAOS WATER GIRL), 1905 [Taos, Southwest]

163 UNTITLED (BRAVE KNEELING BY WATER), CA. 1905 [Apsaroke, Great Plains]

Platinum print Negative Date: 1905, Print Date: 1905 16 1/4 x 12 7/16 in. (41.28 x 31.59 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS

Platinum print Negative Date: ca. 1905, Print Date: 1905 15 5/16 x 12 in. (38.89 x 30.48 cm.) Single Mount: 16 3/16 x 12 5/8 in. (41.12 x 32.07 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS Black ink stamp on mount verso: 184

$3,000 – $5,000

$3,000 – $5,000 This photograph is of an Apsaroke brave kneeling by a pool of water. Curtis loved to use water as a pictorial element, as illustrated here. This print is very rare, and it is believed that only three or four examples exist, in all print mediums combined. This print was included in the ground-breaking exhibition, “Sacred Legacy: Edward S. Curtis and the North American Indian”, which traveled throughout Europe in the early 2000s.

Platinum print Negative Date: 1907, Print Date: 1907 15 5/8 x 11 3/4 in. (39.69 x 29.85 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS $2,500 – $3,500 SANTA FE ART AUCTION

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164 BY THE CANAL - MARICOPA, 1907 [Maricopa, Southwest]

LARGE PLATINUM PRINTS 165 THE PIKI MAKER - WALPI, 1906 [Walpi, Southwest]

166 UNTITLED (BRAVE KNEELING BY WATER), CA. 1905 [Apsaroke, Great Plains]

Platinum print Negative Date: 1906, Print Date: 1906 16 3/8 x 12 in. (41.59 x 30.48 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: 30-06 (partial)

Platinum print Negative Date: ca. 1905, Print Date: 1905 15 13/16 x 11 13/16 in. (40.16 x 30 cm.) Signed, in red wax pencil at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1905 BY E.S. CURTIS $5,000 – $7,000

$3,000 – $5,000

167 YEBICHAI DANCERS - NAVAHO, 1906 [Navajo, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 12 1/16 x 15 1/2 in. (30.64 x 39.37 cm.) Double Mount: 17 3/8 x 20 in. (44.13 x 50.80 cm.) Signed, in brown ink at lower right on print recto: Curtis In negative at lower left on print recto: 402-06 On verso in graphite: Ye-ba-chai - Dancers $5,000 – $7,000 74

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168 UNTITLED (APSAROKE WARRIORS), 1905 [Apsaroke, Great Plains] Platinum print Negative Date: 1905, Print Date: 1905 12 3/16 x 15 15/16 in. (30.96 x 40.48 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS $4,000 – $6,000 This rare 12 3/16 x 15 15/16 platinum print of a little-known Curtis image was created near the beginning of the last century. It was used to illustrate a Curtis article in an issue of Scribner’s Magazine at the time but was not published in Curtis’ magnum opus The North American Indian. The Apsaroke were a powerful, semi-nomadic tribe that occupied much of present day Montana. They were fierce warriors and greatly respected by Curtis as well as many neighboring tribes. It is estimated that fewer than five platinum prints of this image exist.

Platinum print Negative Date: 1906, Print Date: 1906 16 5/16 x 12 5/16 in. (41.43 x 31.27 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: 406-06 $4,000 – $6,000 This early platinum print illustrates the serenity that Curtis often conveyed in his photographs, in this case, enhanced by the beautiful river in which the subject stands, the Black River in Arizona.

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169 THE APACHE, 1906 [Apache, Southwest]

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170 GERONIMO - APACHE, 1905 [Apache, Southwest] Platinum print Negative Date: 1905, Print Date: 1905 15 5/8 x 11 9/16 in. (39.69 x 29.37 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, lower left on print recto (pointed ends): COPYRIGHTED 1905 & ©E.S. Curtis Seattle In negative at lower left on print recto: 205-05 $120,000 – $180,000 This is the quintessential portrait of one of the greatest leaders and warriors in American history, taken by one of the greatest practitioners in the history of the photographic medium. Powerful and compelling, it is arguably the single most important image from Curtis’ thirty-year odyssey and the forty to fifty thousand negatives he created while photographing the North American Indian. Hundreds of notable portraits exist of Geronimo, yet this photo, perhaps more than any other, captures the dignity and representation of his Apache roots. The headpiece and staff the celebrated leader selected for this portrait were symbols of his cultural patrimony, worn with pride when in his community, and in defiance during his internment at Fort Sill. Lighting, composition and subject matter all contribute to making this a great work of art that transcends both photography and the Native American subject matter. It is believed that only 6-10 examples of this highly sought-after Geronimo platinum print exist. In terms of condition and print quality, this is possibly the finest example in existence. Chris Cardozo valued this print among the most important he ever collected, as an enduring work of art that still moves viewers over one hundred years after it was made. Offered with its original frame.

“We had no churches, no religious organizations, no sabbath day, no holidays, and yet we worshipped. Sometimes the whole tribe would assemble and sing and pray; sometimes a smaller number, perhaps only two or three. The songs had only a few words but were not formal. The singer would occasionally put such words as he wished instead of the usual tone sound. Sometimes we prayed in silence; sometimes each prayed aloud; sometimes an aged person prayed for all of us. At other times one would rise and speak to us of our duties to each other and to Usen. Our services were short.” — Geronimo (1829 - 1909) Apache Chief 76

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171 BLACK HAIR - NORTHERN PLAINS BRAVE, 1905 [Unknown, Great Plains] Platinum print Negative Date: 1905, Print Date: 1905 15 1/2 x 11 7/16 in. (39.37 x 29.05 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: 221-05 $25,000 – $35,000 This is the stare and concentration of a young man about to enter a ritual religious and community experience that was at times forbidden the by the U.S. government, but never lost to his people. His chest is painted in anticipation of a sacred dance, false hair strands are splayed at the top of the skull in Apsaroke tradition, and beaded head wrap and adornments fall in his peripheral sightlines.

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HIGHLIGHT

“For Edward Sheriff Curtis the camera was truly a magic box, a precision instrument that enabled him to draw with light, to transcend the limits of ordinary vision, to see into the shadows of the soul. It is not by accident that he was called by his American Indian subjects “Shadow Catcher.” — N. Scott Momaday

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172 A WALPI MAN "MEATOR" (A MOKI CHIEF), 1900 [Walpi, Southwest] Platinum print Negative Date: 1900, Print Date: 1903 15 1/4 x 10 7/16 in. (38.74 x 26.51 cm.) Frame: 29 x 25 1/8 in. (73.66 x 63.82 cm.) Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS In negative at lower left on print recto: +58 Copyright in the negative, at lower left on print recto: COPYRIGHT 1903 BY E.S. CURTIS $20,000 – $30,000 The Walpi Man is an iconic Curtis portrait widely considered to be aesthetically in the top one tenth of one percent of all of Curtis’ work. It has a pleasing, open tonality. Platinum prints of this image are extremely rare and highly sought after. The image is highly evocative and illustrates the extraordinary connection Curtis had with many Native Americans and their leaders. The subject is Meator, an important Hopi leader, from a tribal group with whom Curtis was especially close. It is one of his most historically significant images as it was made during Curtis’ first independent, self-financed trip into the field, in 1900. Of Curtis’ 40,000-50,000 images, many consider this to be one of his most compelling. This image is illustrated in numerous books on Edward Curtis, but of key importance is that this exact print was copy photographed to reproduce the cover of Cardozo’s major Curtis book, Sacred Legacy: Edward S. Curtis and the North American Indian.

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173 UNTITLED (MOKI GIRL WITH JAR), 1900 [Hopi, Southwest] Platinum print Negative Date: 1900, Print Date: 1900 16 1/16 x 10 15/16 in. (40.80 x 27.78 cm.) Mount: 16 15/16 x 11 5/16 in. (43.02 x 28.73 cm.) At lower left on print recto: COPYRIGHTED 1900 In negative at lower left on print recto: 80 In negative at lower left, partially retouched, on print recto: COPYRIGHTED 1900 BY E.S. CURTIS $15,000 - $20,000

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HIGHLIGHT

“Rather than things, his subjects seem to wear the light itself, as though it were a garment, or a second skin… — A.D. Coleman

LARGE PLATINUM PRINTS

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174 A ZUNI GOVERNOR (SAT SA, A YOUNG ZUNI GOVERNOR), 1900 [Zuni, Southwest] Platinum print Negative Date: 1900, Print Date: 1900 15 7/8 x 11 5/16 in. (40.32 x 28.73 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto, faint (pointed ends): COPYRIGHTED 1900 BY E.S. CURTIS In negative at lower left on print recto: 110-00 $10,000 – $15,000 This is one of Curtis’ earliest, most compelling and most iconic portraits. It was made of an important leader (“Sa We Ta Fina”) in the New Mexico pueblo of Zuni (which is still famous for its beautiful pottery). The subject has an unusually focused and intent gaze, which is accentuated by his strong facial features, the strong, clean, and elegant composition and the dramatic lighting. This is clearly one of Curtis’ most important portraits and it was printed by Curtis in at least five different print mediums for exhibition and/or sale.

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HIGHLIGHT

“Curtis's portraits are, quite simply, superb. Compositionally, they have a classic purity, simplicity, and strength which seem timeless. …This required of him a technical virtuosity, and a patient self-control which his sitters had to share. One benefit of such a procedure was that it isolated each sitting within its own bubble of slow time; another was that it granted Curtis the fullest possible control over light as a sculptural tool. This allowed him to model each face he contemplated in such a way as to emphasize its bearer's identity and character, as well as to create an unusual sense of depth within a two-dimensional image. In these portraits Curtis worked as a cartographer, reading each face as a map…” — A.D. Coleman

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175 PACHILAWA - WALAPAI CHIEF, 1907 [Walapai, Southwest] Platinum print Negative Date: 1907, Print Date: 1907 15 1/2 x 12 7/16 in. (39.37 x 31.59 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: 473-07 $4,000 – $6,000

176 UNTITLED (HOPI MAN), 1904 [Unknown, Southwest] Platinum print Negative Date: 1904, Print Date: 1904 14 3/8 x 10 15/16 in. (36.51 x 27.78 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS $4,000 – $6,000

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177 OW - HIGH, 1905 [Unknown, Great Plains] Platinum print Negative Date: 1905, Print Date: 1905 16 3/16 x 12 1/8 in. (41.12 x 30.80 cm.) Single Mount: 16 7/8 x 12 5/16 in. (42.86 x 31.27 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: 241-05 $3,000 – $4,000

178 CHIJAKO - PIMA, 1907 [Pima, Southwest]

$2,500 – $3,500

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LARGE PLATINUM PRINTS

Platinum print Negative Date: 1907, Print Date: 1907 15 3/16 x 11 7/16 in. (38.58 x 29.05 cm.) Double Mount: 17 1/2 x 13 3/4 in. (44.45 x 34.93 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: 459-07

LARGE PLATINUM PRINTS 179 THE APACHE, 1906 [Apache, Southwest]

180 THE APACHE, 1906 [Apache, Southwest]

Platinum print Negative Date: 1906, Print Date: 1906 16 1/8 x 11 13/16 in. (40.96 x 30 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: 406-06

Platinum print Negative Date: 1906, Print Date: 1906 15 13/16 x 11 5/16 in. (40.16 x 28.73 cm.) In negative at lower left on print recto: 6-06 (partial) $3,000 – $5,000

$3,000 – $4,000

181 STORY-TELLING - APACHE, 1904 [Apache, Southwest]

182 THE LOST TRAIL - APACHE, 1907 [Apache, Southwest]

Platinum print Negative Date: 1904, Print Date: 1904 12 3/8 x 16 3/16 in. (31.43 x 41.12 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: 136-04 (blurry)

Platinum print Negative Date: 1907, Print Date: 1907 10 1/2 x 15 3/4 in. (26.67 x 40.01 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1907 BY E.S. CURTIS

$4,000 – $6,000

$3,000 – $5,000 88

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183 THE KIVA STAIRS - SAN ILDEFONSO, 1905 [San Ildefonso, Southwest]

184 THE MESCAL HARVEST - APACHE, 1906 [Apache, Southwest]

Platinum print Negative Date: 1905, Print Date: 1905 11 15/16 x 16 1/16 in. (30.32 x 40.80 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: 287-05

Platinum print Negative Date: 1906, Print Date: 1906 11 13/16 x 15 1/2 in. (30 x 39.37 cm.) Signed, in brown wax pencil at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: 436-06

$3,000 – $5,000

$2,000 – $3,000

186 A POINT OF INTEREST - NAVAHO, 1904 [Navajo, Southwest]

Platinum print Negative Date: 1903, Print Date: ca. 1903 16 7/16 x 12 5/8 in. (41.75 x 32.07 cm.) Single Mount: 20 5/8 x 15 15/16 in. (52.39 x 40.48 cm.) Copyright at lower right corner on print recto: Copyright (very faint)

Platinum print Negative Date: 1904, Print Date: 1904 11 1/8 x 15 1/4 in. (28.26 x 38.74 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: 172-04 Copyright in the negative, at lower left on print recto: COPYRIGHT 1904 by ES Curtis 172

$2,000 – $3,000

$2,000 – $3,000 SANTA FE ART AUCTION

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185 GETTING WATER - APACHE ("TER JAR YILL"), 1903 [Apache, Southwest]

LARGE PLATINUM PRINTS 187 MOHAVE CHIEF, 1903 [Mojave, Southwest]

188 HWALYA - YUMA, 1907 [Yuma, Southwest]

Platinum print Negative Date: 1903, Print Date: ca. 1907 15 15/16 x 11 15/16 in. (40.48 x 30.32 cm.) Signed, in brown wax pencil at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS Copyright in the negative, at lower left on print recto: COPYRIGHT 1903 by ES Curtis 147

Platinum print Negative Date: 1907, Print Date: 1907 15 7/16 x 11 7/16 in. (39.21 x 29.05 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1907 BY E.S. CURTIS In negative at lower left on print recto: 487-07 $2,000 – $3,000

$2,000 – $3,000

189 OVI-TSA (DUCK WHITE), SUMMER CACIQUE OF SANTA CLARA, 1905 [Santa Clara, Southwest]

190 LUMMI WOMAN, 1899 [Lummi, Northwest]

Platinum print Negative Date: 1905, Print Date: 1905 15 11/16 x 12 1/16 in. (39.85 x 30.64 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1905 BY E.S. CURTIS In negative at lower left on print recto: 319-05

Platinum print Negative Date: 1899, Print Date: 1899 15 13/16 x 6 1/8 in. (40.16 x 15.56 cm.) Signed, in black ink at Lower Right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1899 BY E.S. CURTIS Copyright in the negative, at lower left on print recto: Curtis Copyright 1899 23 (retouched)

$2,000 – $3,000

$2,000 – $3,000 90

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191 UNTITLED (VARIANT OF ‘PRIMITIVE MOHAVE’), 1907 [Mojave, Southwest]

192 THE BARK GATHERER - MAKAH, 1910 [Makah, Northwest]

Platinum print Negative Date: 1907, Print Date: 1907 14 7/16 x 7 15/16 in. (36.67 x 20.16 cm.) Signed, in brown ink at lower right on print recto: Curtis

Platinum print Negative Date: 1910, Print Date: 1910 16 5/16 x 12 7/16 in. (41.43 x 31.59 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1910 BY E.S. CURTIS In negative at lower left on print recto: 713-10

$2,000 – $3,000

$1,500 – $2,500

Platinum print Negative Date: 1907, Print Date: 1907 12 3/8 x 16 1/16 in. (31.43 x 40.80 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS In negative at lower left on print recto: 471-07 $1,500 – $2,500

194 BY THE SYCAMORE - APACHE (VARIANT), 1906 [Apache, Southwest] Platinum print Negative Date: 1906, Print Date: 1906 16 x 12 9/16 in. (40.64 x 31.91 cm.) Signed, in black ink at lower right on print recto: Curtis In negative at lower left on print recto: 425-06 $2,000 – $3,000

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193 RESTING IN THE HARVEST FIELD - QAHATIKA, 1907 [Qahatika, Southwest]

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195 APACHE MESCAL CAMP, 1903 [Apache, Southwest]

196 DESERT ROVERS - APACHE, 1903 [Apache, Southwest]

Platinum print Negative Date: 1903, Print Date: 1903 12 3/16 x 15 13/16 in. (30.96 x 40.16 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS Copyright in the negative, at lower left on print recto: COPYRIGHT 1903 by ES Curtis 128

Platinum print Negative Date: 1903, Print Date: 1903 9 7/8 x 16 1/16 in. (25.08 x 40.80 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto (pointed ends): COPYRIGHTED 1903 BY E.S. CURTIS $1,500 – $2,500

$1,500 – $2,500

197 UNTITLED (HOPI MAN AND DONKEYS), CA. 1900 [Hopi, Southwest]

198 JICARILLA WOMEN, 1904 [Jicarilla, Southwest]

Platinum print Negative Date: ca. 1900, Print Date: ca. 1900 15 1/16 x 19 1/2 in. (38.26 x 49.53 cm.)

Platinum print Negative Date: 1904, Print Date: 1904 12 1/16 x 16 1/8 in. (30.64 x 40.96 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: 433-04

$1,000 – $2,000

$1,500 – $2,500

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199 UNTITLED (POOL OF WATER), 1906 [Unknown] Platinum print Negative Date: 1906, Print Date: 1906 16 1/2 x 12 5/16 in. (41.91 x 31.27 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: 382-06 $1,000 – $2,000

201 AT THE SHRINE - NAVAHO, 1904 [Navajo, Southwest]

Platinum print Negative Date: 1900, Print Date: 1900 12 9/16 x 15 15/16 in. (31.91 x 40.48 cm.) Signed, in black ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: ...GHTED 1910….S. CURTIS In negative at lower left on print recto: 56-00 (partial)

Platinum print Negative Date: 1904, Print Date: 1904 12 3/16 x 16 5/16 in. (30.96 x 41.43 cm.) Signed, in brown ink at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1904 BY E.S. CURTIS In negative at lower left on print recto: 146-04 (partial)

$1,000 – $2,000

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200 THE WATER CARRIERS, 1900 [Walpi, Southwest]

SMALL SILVER GELATIN PRINTS 202 GROUP OF THREE - UNTITLED (MOHAVE WOMAN WITH JAR), CA. 1907 [Mojave, Southwest] Silver gelatin print - untoned Negative Date (all three): ca. 1907, Print Date (all three): ca. 1907 Print dimensions, left to right: 7-9/16 x 4-7/16 in., 7-3/4 x 4-3/8 in., 6-7/16 x 4-3/16 in. $3,000 – $4,500 (for the set)

“…. the information that is to be gathered, for the benefit of future generations, respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost for all time. It is this need that has inspired the present task.” — Edward S. Curtis “The passing of every old man or woman means the passing of some tradition, some knowledge of sacred rites possessed by no other…” —Edward S. Curtis 94

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203 UNTITLED (HAMASAKA IN TLUWULAHU COSTUME AND TSUNUKWALAHL - QÁGYUHL), 1914 [Qágyuhl, Northwest] Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 x 5 11/16 in. (17.78 x 14.45 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $2,000 – $3,000

Silver gelatin print - untoned Negative Date: 1908, Print Date: 1908 6 x 7 15/16 in. (15.24 x 20.16 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1908 BY E.S. CURTIS In negative at lower left on print recto: X2748-08 This is an untoned print on double-weight, luster surface silver gelatin paper. $2,500 – $3,500

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SMALL SILVER GELATIN PRINTS

204 ON THE LITTLE BIGHORN - APSAROKE, 1908 [Apsaroke, Great Plains]

SMALL SILVER GELATIN PRINTS

205 MASKED DANCER - COWICHAN (CROP VARIANT), 1912 [Cowichan, Northwest] Silver gelatin print - untoned Negative Date: 1912, Print Date: 1912 7 1/8 x 5 3/4 in. (18.10 x 14.61 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $2,000 – $3,000

206 UNTITLED (VARIANT OF WÁSWASLIKYI - QÁGYUHL), 1914 [Qágyuhl, Northwest] Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 8 x 5 15/16 in. (20.32 x 15.08 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $2,000 – $3,000

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207 UNTITLED (VARIANT OF TAWIHYILAH (MOUNTAIN CLIMBER EMBODIMENT) - KWAKUITL), 1914 [Kwakiutl, Northwest]

208 UNTITLED (VARIANT OF MASKED DANCER - COWICHAN), 1914 [Cowichan, Northwest]

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 5/8 x 5 13/16 in. (19.37 x 14.76 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 1/4 x 5 15/16 in. (18.42 x 15.08 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

$2,000 – $3,000

$1,500 – $2,500

210 CHILKAT BLANKET, THE HAIDA CEREMONIAL ROBE, 1915 [Haida, Northwest]

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 7 15/16 x 5 15/16 in. (20.16 x 15.08 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 7 7/8 x 7 11/16 in. (20 x 19.53 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper.

(Appears in TNAI Volume XI, 1916, offered as lot 316)

$1,000 – $2,000

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SMALL SILVER GELATIN PRINTS

209 DANCING MASK - NOOTKA, 1915 [Nootka, Northwest]

SMALL SILVER GELATIN PRINTS

211 TOLOWA DANCING HEAD-DRESS, 1923 [Tolowa, Northwest]

212 UNTITLED (FIGURES IN COSTUME - QÁGYUHL), 1914 [Qágyuhl, Northwest]

Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 6 x 8 in. (15.24 x 20.32 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 x 5 3/4 in. (17.78 x 14.61 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

$1,500 – $2,500

$1,000 – $2,000

213 UNTITLED (FIGURE IN COSTUME - QÁGYUHL), 1914 [Qágyuhl, Northwest]

214 UNTITLED (YEI DANCERS), CA. 1904 [Navajo, Southwest]

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 1/8 x 5 7/16 in. (18.10 x 13.81 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: ca. 1904, Print Date: ca. 1904 6 x 4 1/4 in. (15.24 x 10.80 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

$1,000 – $2,000

$1,500 – $2,500

215 AWAITING THE RETURN OF THE SNAKE RACERS, 1921 [Hopi, Southwest] Silver gelatin print - untoned Negative Date: 1921, Print Date: ca. 1921 8 1/8 x 6 in. (20.64 x 15.24 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $1,000 – $2,000

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216 HOPI BRIDAL COSTUME, 1900 [Hopi, Southwest]

217 UNTITLED (ARIKARA MAN), CA. 1908 [Arikara, Great Plains]

Silver gelatin print - untoned Negative Date: 1900, Print Date: ca.1900 7 9/16 x 4 7/16 in. (19.21 x 11.27 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

Silver gelatin print - toned Negative Date: ca. 1908, Print Date: ca. 1908 7 1/8 x 4 7/8 in. (18.10 x 12.38 cm.) This is a toned print on single-weight, luster surface silver gelatin paper.

$1,500 – $2,500

$2,000 – $3,000

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 7 7/8 x 5 13/16 in. (20 x 14.76 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. $1,000 – $2,000

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SMALL SILVER GELATIN PRINTS

218 THE WHALER, 1915 [Makah, Northwest]

SMALL SILVER GELATIN PRINTS

219 THE FOREST STREAM, 1923 [Hopi, California] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 7 7/8 x 6 in. (20 x 15.24 cm.) Signed, in black ink at lower right on print recto: Curtis This is an untoned print on double-weight, glossy surface silver gelatin paper. $1,000 – $2,000

220 THE PIKI MAKER - WALPI, 1906 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1906, Print Date: 1906 7 7/8 x 5 15/16 in. (20 x 15.08 cm.) Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1906 BY E.S. CURTIS In negative at lower left on print recto: X1969-06 This is an untoned print on double-weight, luster surface silver gelatin paper. $1,500 – $2,500

100

SANTA FE ART AUCTION

221 UNTITLED (VARIANT OF SKOKOMISH BASKETS), 1912 [Skokomish, Northwest] Silver gelatin print - untoned Negative Date: 1912, Print Date: ca. 1912 5 1/2 x 7 5/16 in. (13.97 x 18.57 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. $1,000 – $2,000

Silver gelatin print - untoned Negative Date: 1930, Print Date: ca. 1930 7 7/8 x 6 1/8 in. (20 x 15.56 cm.) This is an untoned print, on single-weight, glossy surface silver gelatin paper. $500 – $1,000

SANTA FE ART AUCTION

223 HEAD MEDICINE WOMAN OF HUPA (VARIANT OF PRINCIPLE FEMALE SHAMAN OF THE HUPA), 1923 [Hopi, California] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 8 x 6 in. (20.32 x 15.24 cm.) This is an untoned print, on double-weight, luster surface silver gelatin paper. $500 – $1,000

101

SMALL SILVER GELATIN PRINTS

222 BLACK MAN - ARAPAHO, 1930 [Arapaho, Great Plains]

SMALL SILVER GELATIN PRINTS

224 H·YAS, OF KAYUNG - HAIDA, 1915 [Haida, Northwest]

225 HAIDA SLATE PIPE, 1915 [Haida, Northwest]

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 7 13/16 x 5 7/8 in. (19.84 x 14.92 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 15/16 x 7 15/16 in. (15.08 x 20.16 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper.

(Appears in TNAI Volume XI, 1916, offered as lot 316)

$500 – $1,000

226 HAIDA SLATE PIPE, 1915 [Haida, Northwest]

227 UNTITLED (HOUSE-POST - KOSKIMO), 1914 [Koskimo, Northwest]

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 15/16 x 7 15/16 in. (15.08 x 20.16 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. (Appears in TNAI Volume XI, 1916, offered as lot 316)

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 13/16 x 4 11/16 in. (19.84 x 11.91 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. This print has a whiteout type substance on the surface that was used to mask-out the figure, most likely for reproduction in a publication.

$500 – $1,000

$500 – $1,000 102

SANTA FE ART AUCTION

228 UNTITLED (VARIANT OF A KOSKIMO HOUSE-POST), 1914 [Koskimo, Northwest]

229 UNTITLED (VARIANT OF TAWIHYILAH (MOUNTAIN CLIMBER EMBODIMENT) - KWAKUITL), 1914 [Kwakiutl, Northwest]

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 6 1/2 x 5 9/16 in. (16.51 x 14.13 cm.) This is an untoned print on double-weight, glossy surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1914, Print Date: ca. 1914 7 3/4 x 5 3/8 in. (19.69 x 13.65 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. This print has a whiteout type substance on the surface that was used to mask-out the figure, most likely for reproduction purposes in a publication.

$500 – $1,000

231 UNTITLED (TOTEM POLE AND HOUSE FRONT - HARRIMAN EXPEDITION), 1899 [Kwakiutl, Northwest]

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 8 x 5 15/16 in. (20.32 x 15.08 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1899, Print Date: ca. 1899 6 3/4 x 5 15/16 in. (17.15 x 15.08 cm.) Signed, at lower left on print recto: Curtis In negative at lower left on print recto: X455 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN This is an untoned print on single-weight, semimatte surface silver gelatin paper.

$500 – $1,000

$500 – $1,000 SANTA FE ART AUCTION

103

SMALL SILVER GELATIN PRINTS

230 UNTITLED (VARIANT OF THE BEAR COSTUME - NOOTKA), 1915 [Nootka, Northwest]

SMALL SILVER GELATIN PRINTS

233 WAITING FOR THE CANOE, 1915 [Nootka, Southwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 8 x 5 3/4 in. (20.32 x 14.61 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. 232 UNTITLED (MASKED DANCERS IN CANOE - QÁGYUHL), 1914 [Qágyuhl, Northwest]

$500 – $1,000

Silver gelatin print - untoned Negate Date: 1914, Print Date: ca. 1914 3 1/8 x 5 1/4 in. (7.94 x 13.34 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $500 – $1,000

234 UNTITLED (HOPI DWELLINGS ON MESA), CA. 1900 [Hopi, Southwest] Silver gelatin print - untoned Negative Date: ca. 1900, Print Date: ca. 1900 7 5/8 x 5 3/4 in. (19.37 x 14.61 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $500 – $1,000

236 UNTITLED (TONENILI, TOBADZISCHINI, AND NAYENEZGANI - NAVAHO), 1904 [Navajo, Southwest] Silver gelatin print - untoned Negative Date: 1904, Print Date: ca. 1904 6 7/16 x 4 3/16 in. (16.35 x 10.64 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $300 – $500

235 THINKING OF THE OLD DAYS - KLAMATH, 1923 [Klamath, Northwest] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 6 1/16 x 8 in. (15.40 x 20.32 cm.) This is an untoned print on double-weight, glossy surface silver gelatin paper. $300 – $500

237 UNTITLED (OGALALA - SIOUX), CA. 1908 [Ogalala, Great Plains] Silver gelatin print - untoned Negative Date: ca. 1908, Print Date: ca. 1908 4 1/2 x 7 1/4 in. (11.43 x 18.42 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $300 – $500 104

SANTA FE ART AUCTION

238 OFFERING SACRED MEAL, MISHONGNOVI FLUTE DANCE, 1921 [Walpi, Southwest]

239 A "CATCHER" PICKING UP A SNAKE, 1906 [Hopi, Southwest] Silver gelatin print - untoned Negative Date: 1906, Print Date: ca. 1906 8 3/16 x 6 1/8 in. (20.80 x 15.56 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1921, Print Date: ca. 1921 6 1/4 x 8 5/16 in. (15.88 x 21.11 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

$300 – $500

241 PÈLE - TEWA, 1921 [Tewa, Southwest]

Silver gelatin print - untoned Negative Date: 1906, Print Date: ca. 1906 8 1/8 x 6 in. (20.64 x 15.24 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1921, Print Date: ca. 1921 8 1/16 x 6 1/8 in. (20.48 x 15.56 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

$500 – $1,000

$300 – $500

SANTA FE ART AUCTION

105

SMALL SILVER GELATIN PRINTS

240 CHAIWA - TEWA - PROFILE, 1906 [Tewa, Southwest]

SMALL SILVER GELATIN PRINTS

242 GROUP OF THREE SILVER GELATIN PRINTS (PORTRAITS OF WOMEN) Primitive Style of Hair-Dressing - Walpi (Crop Variant), 1921 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1921, Print Date: ca. 1921 5 1/4 x 3 1/4 in. (13.34 x 8.26 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper, dry-mounted to contemporary board. A Maidu Woman, 1924 [Maidu, California] Silver gelatin print - untoned Negative Date: 1924, Print Date: ca. 1924 8 x 5 7/8 in. (20.32 x 14.92 cm.) This is an untoned print on double-weight, glossy surface silver gelatin paper. A Coast Pomo Girl, 1924 [Pomo, Northwest] Silver gelatin print - untoned Negative Date: 1924, Print Date: ca. 1924 8 1/8 x 6 1/8 in. (20.64 x 15.56 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $400 – $600 (for the set)

243 GROUP OF THREE SILVER GELATIN PRINTS (NORTHWEST) Whaling Floats, 1915 [Clayoquot, Northwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 15/16 x 8 in. (15.08 x 20.32 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. Cooking Whale Blubber, 1915 [Clayoquot, Northwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 15/16 x 7 7/8 in. (15.08 x 20 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. A Partially Cut Up Whale, 1915 [Hesquiat, Northwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 7/8 x 7 15/16 in. (14.92 x 20.16 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. (Appears in TNAI Volume XI, 1916, offered as lot 316) $200 – $400 (for the set)

106

SANTA FE ART AUCTION

244 A SEA-OTTER HUNTER, 1915 [Hesquiat, Northwest] Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 9/16 x 7 7/8 in. (14.13 x 20 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. (Appears in TNAI Volume XI, 1916, offered as lot 316) $100 – $150

245 BROKEN FISH-WEIR, 1923 [Hupa, California] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 8 x 5 7/8 in. (20.32 x 14.92 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $300 – $500

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 5 7/8 x 8 1/8 in. (14.92 x 20.64 cm.) This is an untoned print on double-weight, matte surface silver gelatin paper. (Appears in TNAI Volume XI, 1916, offered as lot 316) $300 – $500

SANTA FE ART AUCTION

107

SMALL SILVER GELATIN PRINTS

246 OLD HOUSES - NEAH BAY, 1915 [Clayoquot, Northwest]

SMALL SILVER GELATIN PRINTS

247 GROUP OF THREE SILVER GELATIN PRINTS (WALPI) Depositing Snakes in the Circle of Meal, 1906 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1906, Print Date: ca. 1906 6 1/8 x 8 in. (15.56 x 20.32 cm.) In negative at lower left on print recto: X2002-06 This is an untoned print on single-weight, luster surface silver gelatin paper. Entering the Spring, Walpi Flute Dance, 1907 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1907, Print Date: ca. 1907 6 1/8 x 8 1/8 in. (15.56 x 20.64 cm.) In negative at lower left on print recto: X2026-07 (06 has been written over in pen) This is an untoned print on single-weight, luster surface silver gelatin paper. Flute Dancers at Tureva Spring - Walpi, 1904 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1904, Print Date: ca. 1904 6 1/8 x 8 1/8 in. (15.56 x 20.64 cm.) In negative at lower left on print recto: X11704 This is an untoned print on double-weight, luster surface silver gelatin paper. $200 – $400 (for the set)

248 GROUP OF TWO SILVER GELATIN PRINTS (WALPI) Shipaulovi Snake Dance, 1906 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1906, Print Date: ca. 1906 6 1/8 x 8 in. (15.40 x 20.32 cm.) In negative at lower left in print recto: X2000-06 This is an untoned print on single-weight, luster surface silver gelatin paper. Snake Jars in the Kiva, 1906 [Walpi, Southwest] Silver gelatin print - untoned Negative Date: 1906, Print Date: ca. 1906 6 1/16 x 8 in. (15.40 x 20.32 cm.) In negative at lower left in print recto: X1988-06 This is an untoned print on single-weight, semi-matte surface silver gelatin paper. $200 – $300 (for the pair) 108

SANTA FE ART AUCTION

249 HUPA PURSES AND MONEY, 1923 [Hupa, California] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 5 15/16 x 7 7/8 in. (15.08 x 20 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $300 – $500

250 UNTITLED (ZUNI INDIAN MASK OF PAKOKO), CA. 1903 [Zuni, Southwest] Silver gelatin print - untoned Negative Date: ca. 1903, Print Date: ca. 1903 6 5/16 x 4 5/8 in. (16.03 x 11.75 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $100 – $150

252 HOUSEHOLD UTENSILS, 1900 [Hopi, Southwest]

Silver gelatin print - untoned Negative Date: 1907, Print Date: ca. 1907 9 7/16 x 7 7/16 in. (23.97 x 18.89 cm.) This is an untoned print on single-weight, semi-matte surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1900, Print Date: ca. 1900 6 x 7 15/16 in. (15.24 x 20.16 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

$100 – $150

SANTA FE ART AUCTION

109

SMALL SILVER GELATIN PRINTS

251 UNTITLED (APACHE MEDICINE CAP), 1907 [Apache, Southwest]

SMALL SILVER GELATIN PRINTS

253 GATHERING CHILE - SAN JUAN, 1905 [San Juan, Southwest]

254 BERRY PICKERS - KOTZEBUE, 1928 [Kotzebue, Alaska]

Silver gelatin print - untoned Negative Date: 1905, Print Date: ca. 1905 5 11/16 x 7 13/16 in. (14.45 x 19.84 cm.) In negative at lower left on print recto: X1764-05 This is an untoned print on single-weight, glossy surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1928, Print Date: ca. 1928 6 x 7 7/8 in. (15.24 x 20 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper on a paper mount.

$200 – $300

$500 – $1,000

256 THE WATER CARRIERS, 1900 [Hopi, Southwest]

255 UNTITLED (GATHERING CACTUS FRUIT), 1907 [Pima, Southwest]

Silver gelatin print - untoned Negative Date: 1900, Print Date: 1900 5 9/16 x 7 5/8 in. (14.13 x 19.37 cm.) Signed, lower left on print recto: Curtis Copyright blind stamp, at the lower left on print recto: COPYRIGHTED 1900 BY E.S. CURTIS This is an untoned print on double-weight, luster surface silver gelatin paper. $100 – $150

Silver gelatin print - untoned Negative Date: 1907, Print Date: ca. 1907 6 7/16 x 4 3/16 in. (16.35 x 10.64 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $100 – $150 110

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258 UNTITLED (A NOOTKA), 1915 [Nootka, Northwest]

Silver gelatin print - untoned Negative Date: 1907, Print Date: ca. 1907 7 3/4 x 4 3/8 in. (19.69 x 11.11 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 7 13/16 x 4 11/16 in. (19.84 x 11.91 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper.

$100 – $150

259 UNTITLED (VARIANT OF WAITING FOR THE SEAL), 1915 [Hesquiat, Northwest]

260 UNTITLED (HOPI CHILDREN), CA. 1900 [Hopi, Southwest]

Silver gelatin print - untoned Negative Date: 1915, Print Date: ca. 1915 6 x 7 7/8 in. (15.24 x 14.92 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $100 – $150

SANTA FE ART AUCTION

111

Silver gelatin print - untoned Negative Date: ca. 1900, Print Date: ca. 1900 5 1/4 x 7 11/16 in. (13.34 x 19.53 cm.) This is an untoned print on single-weight, luster surface silver gelatin paper. $200 – $300

SMALL SILVER GELATIN PRINTS

257 MOHAVE MAN, 1907 [Mojave, Southwest]

SMALL SILVER GELATIN PRINTS

261 THE DELIGHTS OF CHILDHOOD, 1900 [Hopi, Southwest] Silver gelatin print - untoned Negative Date: 1900, Print Date: ca. 1900 5 15/16 x 7 9/16 in. (15.08 x 19.21 cm.) In negative at lower left on print recto: COPYRIGHT 1900 BY E.S. CURTIS X1576-00 This is an untoned print on single-weight, luster surface silver gelatin paper. $50 – $100

262 UNTITLED (UPSHAW - APSAROKE), 1908 [Apsaroke, Great Plains] Silver gelatin print - untoned Negative Date: 1908, Print Date: ca. 1908 9 15/16 x 7 15/16 in. (25.24 x 20.16 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $100 – $150

263 GROUP OF TWO SILVER GELATIN PRINTS (CALIFORNIA) Weitchpec George - Yurok, 1923 [Yurok, California] Silver gelatin print - untoned Negative Date: 1923, Print Date: ca. 1923 8 x 6 in. (20.32 x 15.24 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. Untitled (Variant of Old ìUkiahî - Pomo), 1924 [Pomo, California] Silver gelatin print - untoned Negative Date: 1924, Print Date: ca. 1924 8 x 6 in. (20.32 x 15.24 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $200 – $300 (for the pair)

112

SANTA FE ART AUCTION

264 UNTITLED (TABLITA DANCERS), CA. 1905 [San Ildefonso, Southwest] Silver gelatin print Negative Date: ca. 1905, Print Date: ca. 1905 3 1/4 x 5 1/2 in. (8.26 x 13.97 cm.) This is a toned print on single-weight, luster surface silver gelatin paper. $100 – $150

265 UNTITLED (THE LOPEZ GIRL - SMITH RIVER) [California] Silver gelatin print - untoned Negative Date: Unknown, Print Date: Unknown 7 13/16 x 5 15/16 in. (19.84 x 15.08 cm.) This is an untoned print on double-weight, luster surface silver gelatin paper. $100 – $150

Silver gelatin print - untoned Negative Date: ca. 1925, Print Date: ca. 1925 5 3/4 x 7 3/4 in. (14.61 x 19.69 cm.) This is an untoned print on double-weight, glossy surface silver gelatin paper. $100 – $150

SANTA FE ART AUCTION

113

267 VILLAGE AT LITTLE DIOMEDE, 1928 [Diomede, Alaska] Silver gelatin print - untoned Negative Date: 1928, Print Date: ca. 1928 6 1/16 x 7 7/8 in. (15.40 x 20 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper. $100 – $150

SMALL SILVER GELATIN PRINTS

266 UNTITLED (LAGUNA PUEBLO WITH ADOBE HOUSES), CA. 1925 [Keres, Southwest]

SMALL SILVER GELATIN PRINTS

268 MODERN YUKI CABIN, 1924 [Yuki, California]

269 A CORNER OF LAGUNA, 1925 [Keres, Southwest]

Silver gelatin print - toned Negative Date: 1924, Print Date: ca. 1924 5 7/8 x 7 15/16 in. (14.92 x 20.16 cm.) This is a toned print on double-weight, luster surface silver gelatin paper.

Silver gelatin print - untoned Negative Date: 1925, Print Date: c. 1925 7 3/4 x 5 3/4 in. (19.69 x 14.61 cm.) This is an untoned print on single-weight, glossy surface silver gelatin paper.

$100 – $150

270 INTERIOR OF SUN DANCE LODGE - CHEYENNE, 1927 [Cheyenne, Great Plains]

271 SEPULTURE IN A POST AT YAN, 1915 [Haida, Northwest]

Silver gelatin print - untoned Negative Date: 1927, Print Date: ca. 1927 5 7/8 x 7 7/8 in. (14.92 x 20 cm.) Signed, in black ink at lower right on print recto: Curtis This is an untoned print, on single-weight, glossy surface silver gelatin paper.

Silver gelatin print Negative Date: 1915, Print Date: ca. 1915 7 7/16 x 5 13/16 in. (18.89 x 14.76 cm.) This is a toned print on double-weight, matte surface silver gelatin paper.

$50 – $100

(Appears in TNAI Volume XI, 1916, offered as lot 316) $100 – $150

272 UNTITLED (EDWARD CURTIS’ CAMP) [Unknown, Great Plains] Silver gelatin print Negative Date: Unknown, Print Date: Unknown 4 9/16 x 7 9/16 in. (11.59 x 19.21 cm.) This is a toned print on single-weight, luster surface silver gelatin paper. $200 – $300

114

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Experimental Negative Date: 1900, Print Date: Unknown 16 5/8 x 13 in. (42.23 x 33.02 cm.), Frame: 23 7/8 x 20 3/8 in. (60.64 x 51.75 cm.) Signed in yellow wax pencil at lower right on print recto: Curtis Copyright blind stamp, at lower left on print recto: COPYRIGHTED 1900 BY E.S. CURTIS $6,000 – $8,000

Curtis avidly explored a variety of aesthetic possibilities and experimented with a variety of photographic techniques. Building his own camera at age twelve was certainly an early indication of this bent. During his career, he produced a small and unusual body of experimental work, a few examples of which still exist. In some cases, he combined ink, oils, pastels, and/or gum bichromate to create prints with a much more personal, handmade feeling. Photographers in the Pictorialist movement valued both a handcrafted appearance and the processes that produced it, and these experimental prints undoubtedly were an expression of Curtis’ Pictorialist leanings. SANTA FE ART AUCTION

115

EXPERIMENTAL + HAND-COLORED PRINTS

273 A ZUNI GOVERNOR, 1900

EXPERIMENTAL + HAND-COLORED PRINTS

274 GROUP OF TWO PHOTOGRAVURES - SEEING HIGH - OTO, 1927 [Oto, Great Plains] Hand-colored photogravure & photogravure Negative Date: 1927, Print Date: ca. 1927 Each: 7 1/2 x 5.56 in. (19.05 x 14.13 cm.) (Each piece) Signed in plate, lower center below image: E.S Curtis $2,500 – $3,500 (for the pair)

275 OLD PERSON - PIEGAN Photogravure on tissue 15 1/2 x 8 7/8 in. (39.37 x 22.54 cm.) Frame: 31 x 27 in. (78.74 x 68.58 cm.) Upper left, in plate: Plate 204 Lower left, in plate: OLD PERSON - PIEGAN Lower center, in plate: From Copyright Photograph 1911 by E.S. Curtis $1,500 – $3,000

276 UNTITLED (VARIANT OF WATCHING FOR SALMON - HUPA), 1923 [Hupa, Northwest] Hand-colored silver gelatin Negative Date: 1923, Print Date: Unknown 13 7/16 x 10 7/16 in. (34.13 x 26.51 cm.) Signed in black ink at lower right on print recto: Curtis L.A. © $2,000 – $3,000

116

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277 ON THE PACIFIC - HOMEWARD BOUND (HARRIMAN EXPEDITION), 1899 [Alaska]

278 COLUMBIA GLACIER - PRINCE WILLIAM SOUND (HARRIMAN EXPEDITION), 1899 [Alaska]

Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 5 15/16 x 7 1/2 in. (15.08 x 19.05 cm.) Mount: 7 7/8 x 9 7/8 in. (20 x 25.08 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X424 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN

Hand-colored silver gelatin Negative Date: 1899, Print Date: ca.1899 3 7/16 x 6 1/8 in. (8.73 x 15.56 cm.) Mount: 7 7/8 x 9 7/8 in. (20 x 25.08 cm.) In negative at lower left on print recto: 88 $400 – $600

$400 – $600

280 COAST RANGE - NEAR WRANGELL NARROWS (HARRIMAN EXPEDITION), 1899 [Alaska]

Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 4 11/16 x 7 7/8 in. (11.91 x 20 cm.) Mount: 7 7/8 x 9 7/8 in. (20 x 25.08 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X428 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN

Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 5 x 7 in. (13 x 18 cm.) Mount: 7 15/16 x 9 15/16 in. (20.16 x 25.24 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X200 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN

$300 – $500

SANTA FE ART AUCTION

117

EXPERIMENTAL + HAND-COLORED PRINTS

279 FAIRWEATHER RANGE AND LA PEROUSE GLACIER (HARRIMAN EXPEDITION), 1899 [Alaska]

EXPERIMENTAL + HAND-COLORED PRINTS

281 FROM HEATHER ISLAND (HARRIMAN EXPEDITION), 1899 [Alaska] Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 5 7/8 x 8 in. (14.92 x 20.32 cm.) Mount: 7 7/8 x 9 7/8 in. (20 x 25.08 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X306 $300 – $500

282 FROM HEATHER ISLAND (HARRIMAN EXPEDITION), 1899 [Alaska] Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 5 3/4 x 8 in. (14.61 x 20.32 cm.) Mount: 7 3/4 x 9 15/16 in. (19.69 x 25.24 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X306 $300 – $500

283 FROM HEATHER ISLAND (HARRIMAN EXPEDITION), 1899 [Alaska] Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 5 3/4 x 8 in. (14.61 x 20.32 cm.) Mount: 7 3/4 x 9 15/16 in. (19.69 x 25.24 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X306 $300 – $500

118

SANTA FE ART AUCTION

284 THE HARVARD GLACIER (HARRIMAN EXPEDITION), 1899 [Alaska] Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 4 5/8 x 7 1/2 in. (11.75 x 19.05 cm.), Mount: 7 13/16 x 9 15/16 in. (19.84 x 25.24 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X273 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN $300 – $500

Hand-colored silver gelatin Negative Date: 1899, Print Date: ca. 1899 6 1/4 x 7 11/16 in. (15.88 x 19.53 cm.), Mount: 7 7/8 x 9 7/8 in. (20 x 25.08 cm.) Signed in negative at lower left on print recto: Curtis In negative at lower left on print recto: X255 In negative at lower right on print recto: COPYRIGHTED 1899 E.H. HARRIMAN $300 – $500

SANTA FE ART AUCTION

119

EXPERIMENTAL + HAND-COLORED PRINTS

285 SEALERS’ BAY - YAKUTAT BAY (HARRIMAN EXPEDITION), 1899 [Alaska]

EXPERIMENTAL + HAND-COLORED PRINTS

286 PARFLECHES - ATSINA, 1908 [Atsina, Great Plains] Hand-colored photogravure Negative Date: 1908, Print Date: ca. 1908 4 11/16 x 7 5/16 in. (11.91 x 18.57 cm.) Mount: 9 1/2 x 12 1/2 in. (24.13 x 31.75 cm.) Signed in plate, lower center below image: E.S Curtis $500 – $1,000

287 WINTER - COUNT 1540, 1908 [Sioux, Great Plains] Hand-colored photogravure Negative Date: 1908, Print Date: ca. 1908 6 x 5 1/8 in. (15.24 x 13.02 cm.) Paper: 9 5/16 x 12 7/16 in. (23.65 x 31.59 cm.) (Appears in TNAI Volume III, 1908, offered as lot 311) $300 – $500

288 PIKEHODIKLAD - NAVAHO, 1907 [Navajo, Southwest]

289 THUNDERBIRDS AND WHALES, 1914 [Nakoaktok, Northwest]

Hand-colored photogravure Negative Date: 1907, Print Date: ca. 1907 7 5/16 x 5 1/4 in. (18.57 x 13.34 cm.) Paper: 12 3/8 x 9 3/8 in. (31.43 x 23.81 cm.) Signed in plate, lower center below image: E.S Curtis

Hand-colored photogravure Negative Date: 1914, Print Date: ca. 1914 2 11/16 x 7 7/16 in. (6.83 x 18.89 cm.) Paper: 9 7/16 x 12 3/8 in. (23.97 x 31.43 cm.) Signed in plate, lower center below image: E.S Curtis

$500 – $1,000

$500 – $1,000 120

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291 PIKEHODIKLAD - NAVAHO, 1907 [Navajo, Southwest]

Hand-colored photogravure Negative Date: 1907, Print Date: ca. 1907 5 1/8 x 7 1/8 in. (13.02 x 18.10 cm.) Mount: 9 7/16 x 12 7/16 in. (23.97 x 31.59 cm.) Signed in plate, lower center below image: E.S Curtis

Hand-colored photogravure Negative Date: 1907, Print Date: ca. 1907 5 1/8 x 7 3/8 in. (13.02 x 18.73 cm.) Paper: 9 x 12 in. (22.86 x 30.48 cm.) Signed in plate, lower center below image: E.S Curtis

$500 – $1,000

292 A TSAWATENOK HOUSE-FRONT, 1914 [Nakoaktok, Northwest]

293 A TSAWATENOK HOUSE-FRONT, 1914 [Nakoaktok, Northwest]

Hand-colored photogravure Negative Date: 1914, Print Date: ca. 1914 4 11/16 x 7 5/16 in. (11.91 x 18.57 cm.) Mount: 9 3/16 x 12 1/4 in. (23.34 x 31.12 cm.) Signed in plate, lower center below image: E.S Curtis

Hand-colored photogravure Negative Date: 1914, Print Date: ca. 1914 4 11/16 x 7 5/16 in. (11.91 x 18.57 cm.) Mount: 9 7/16 x 12 7/16 in. (23.34 x 31.12 cm.) Signed in plate, lower center below image: E.S Curtis

$400 – $600

$200 – $300

294 A NAKOAKTOK MAWIHL, 1914 [Nakoaktok, Northwest] Hand-colored photogravure Negative Date: 1914, Print Date: ca. 1914 3 1/8 x 7 1/4 in. (7.94 x 18.42 cm.) Mount: 9 7/16 x 12 1/2 in. (23.97 x 31.75 cm.) Signed in plate, lower center below image: E.S Curtis $200 – $300

295 NATIVE DRAWINGS OF SANTO DOMINGO MASKS, 1925 [Santo Domingo, Southwest] Hand-colored photogravure Negative Date: 1925, Print Date: ca. 1925 6 3/4 x 5 5/16 in. (17.15 x 13.49 cm.) Paper: 12 3/16 x 9 7/16 in. (30.96 x 23.97 cm.) $200 – $300

SANTA FE ART AUCTION

121

EXPERIMENTAL + HAND-COLORED PRINTS

290 PIKEHODIKLAD - NAVAHO, 1907 [Navajo, Southwest]

EXPERIMENTAL + HAND-COLORED PRINTS

296 CONTENTS OF BUNDLE OF NUMAK-MAHANA - MANDAN, 1908 [Mandan, Great Plains] Hand-colored photogravure Negative Date: 1908, Print Date: ca. 1908 6 3/4 x 5 5/16 in. (17.15 x 13.49 cm.) Mount: 12 3/16 x 9 7/16 in. (30.96 x 23.97 cm.) Signed in plate, lower center below image: E.S Curtis

297 BUFFALO DANCE COSTUME - MANDAN, 1908 [Mandan, Great Plains] Hand-colored photogravure Negative Date: 1908, Print Date: ca. 1908 7 3/8 x 4 11/16 in. (18.73 x 11.91 cm.) Mount: 12 5/8 x 9 7/16 in. (32.07 x 23.97 cm.) Signed in plate, lower center below image: E.S Curtis $300 – $500

$200 – $300

298 A GEM OF BASKETRY - SOUTHERN YOKUTS, 1924 [Yokuts, California]

299 A GEM OF BASKETRY - SOUTHERN YOKUTS, 1924 [Yokuts, California]

Hand-colored photogravure Negative Date: 1924, Print Date: ca. 1924 7 7/16 x 5 1/2 in. (18.89 x 13.97 cm.) Paper: 12 3/8 x 9 1/2 in. (31.43 x 24.13 cm.) Signed in plate, lower center below image: E.S Curtis

Hand-colored photogravure Negative Date: 1924, Print Date: ca. 1924 7 1/2 x 5 1/2 in. (19.05 x 13.97 cm.) Paper: 12 1/2 x 9 1/2 in. (31.75 x 24.13 cm.) Signed in plate, lower center below image: E.S Curtis

$200 – $300

$300 – $500

300 DIALECTS AND HUNTING TERRITORIES OF THE COAST ESKIMO OF ALASKA, 1929 Photogravure Negative Date: 1929, Print Date: ca. 1929 5 x 8 in. (12.70 x 20.32 cm.) Paper: 9 3/8 x 12 3/8 in. (23.81 x 31.43 cm.) $200 – $300

122

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301 FEMALE PORTRAIT PLATE COVER ENVELOPE GROUP - LOT OF 12 Dimensions vary from 7 3/8 x 5 3/8 in. to 5 7/16 x 7 7/16 in. Gathering Tules - Upper Lake Pomo, ca. 1924 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Itsi´pstsinikyi (“Kills-inside”) – Piegan, ca. 1926 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Pomo Mother and Child, ca. 1924 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Pomo Mother and Child, ca. 1924 Photogravure on Vellum Etching Stock in the plate, lower center below image: E.S Curtis Paviotso Woman of Pyramid Lake, ca. 1924 Plate cover envelope

Hupa Matron, ca. 1923 Photogravure on Japanese Gampi Tissue Etching Stock The Harvester - Cahuilla, ca. 1924 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Peach Harvest - San Ildefonso, 1905 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Pi´shkutyi (“Cornstalk”) - Santo Domingo, ca. 1925 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis $2,500 – $3,500

Oyi´-sa´nwi (“Ice Terrace”) - Santa Clara, 1905 Plate cover envelope envelope signed in black ink, lower center below image: E.S Curtis

These “plate envelopes” or “plate cover envelopes”, were hand-made to house their respective copper photogravure plates for protection and identification, and as such are unique. Each envelope has a proof print (exact photographic process unknown) attached to the front and notations as to the title, copyright date, printing notes, the date of printing, etc. There are also thumb prints of the printers' themselves, and other evidence of the printing process. Plate envelopes are a very important form of Curtis ephemera as they are a key early document relating to the creation of Curtis’ magnum opus, The North American Indian. SANTA FE ART AUCTION

123

PLATE COVER ENVELOPES

A Chukchansi Yokuts Woman (a), ca. 1924 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis

Hupa Matron, ca. 1923 Plate cover envelope

PLATE COVER ENVELOPES 302 CHILDREN PLATE COVER ENVELOPE GROUP - LOT OF 4 Dimensions vary from 5 7/16 x 7 7/16 in. to 11 1/2 x 15 1/2 in. A Wichita Dancer, ca. 1927 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis The Delights of Childhood, 1900 Plate cover envelope In the negative at lower left on print recto: COPYRIGHT 1900 BY E.S. CURTIS Awaiting the Return of the Snake Racers, ca. 1920 Plate cover envelope Nunivak Children, 1928 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis $1,500 - $2,500

124

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303 ARCHITECTURE PLATE COVER ENVELOPE GROUP - LOT OF 11 Dimensions vary from 4 15/16 x 7 7/16 in. to 11 3/8 x 15 5/16 in.

A Kiva at Nambe, 1905 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis “X1820-05”, in the negative at lower left on print recto

Pakavi, ca. 1920 Plate cover envelope Shipaulovi Snake Kiva, 1906 Plate cover envelope King Island, 1928 Plate cover envelope

At Memkumlis, 1914 Plate cover envelope

Zuñi, 1903 Plate cover envelope

Looking to Sea - King Island, 1928 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis

Jemez Houses, ca. 1925 Plate cover envelope

Paguate Watchtower, ca. 1925 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis

SANTA FE ART AUCTION

125

Jemez Houses, ca. 1925 Photogravure on vellum etching stock $2,500 - $3,500

PLATE COVER ENVELOPES

King Island Village, 1928 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis

PLATE COVER ENVELOPES 304 HOPI PLATE COVER ENVELOPE GROUP - LOT OF 7 Dimensions vary from 7 3/8 x 4 15/16 in. to 5 1/2 x 7 7/16 in. On a Walpi Housetop, 1906 Plate cover envelope Good Morning, 1906 Plate cover envelope Hopi Farmers, Yesterday and Today, 1906 Plate cover envelope Hano and Walpi Girls Wearing Atöö, ca. 1920 Plate cover envelope Hopi Architecture, ca. 1920 Plate cover envelope Sikyáletstiwa - Shipaulovi Snake Chief, 1907 Plate cover envelope Signed in black ink, lower center below image: E.S Curtis Entering the Spring , Walpi Flute Dance, 1906 Plate cover envelope $1,500 - $2,500

126

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Mamalelekala Cemetary on Village Island, 1914 Plate cover envelope

Bow River and the Sand Hills - Blackfoot, ca. 1926 Plate cover envelope

A Cornfield, 1906 Plate cover envelope

Bow River and the Sand Hills - Blackfoot, ca. 1926 Photogravure on vellum etching stock

Tule Balsa On Clear Lake, ca. 1924 Plate cover envelope

Painted Tipis - Assiniboin, ca. 1926 Plate cover envelope

Broken Fish Weir, ca. 1923 Plate cover envelope

$2,500 - $3,500

SANTA FE ART AUCTION

127

PLATE COVER ENVELOPES

305 LANDSCAPE PLATE COVER ENVELOPE GROUP - LOT OF 7 Dimensions vary from 4 13/16 x 7 1/4 in. to 5 11/16 x 7 1/2 in.

PLATE COVER ENVELOPES 306 MALE PORTRAIT PLATE COVER ENVELOPE GROUP - LOT OF 10 Dimensions vary from 7 1/2 x 4 7/8 in. to 7 3/4 x 5 7/16 in. Nasurethur - Profile - Chipewyan, ca. 1926 Plate cover envelope Nasurethur - Profile - Chipewyan, ca. 1926 Photogravure on vellum etching stock Big Heart - Osage, ca. 1927 Plate cover envelope Big Heart - Osage, ca. 1927 Photogravure on Japanese gampi tissue etching stock Captain Pete, Namina - Washo, ca. 1925 Plate cover envelope Aiyak, Cape Prince of Wales, 1928 Plate cover envelope On the Shores of Clear Lake, ca. 1924 Plate cover envelope A Snake Priest, 1907 Plate cover envelope A Chukchansi Head-man, ca. 1924 Plate cover envelope Ovegi-a ye (‘Frost Moving’) - Santa Clara Governor, 1905 Plate cover envelope $2,500 - $3,500

128

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307 MISCELLANEOUS PLATE COVER ENVELOPE GROUP - LOT OF 5 Dimensions vary from 7 7/16 x 5 7/16 in. to 7 9/16 x 5 1/2 in. Tsawatenok Tree Burial, 1914 Plate cover envelope Modern Blackfoot Burial, ca. 1927 Plate cover envelope

Cheyenne Footwear, ca. 1927 Plate cover envelope Cheyenne Footwear, ca. 1927 Photogravure on Holland Van Gelder etching stock $500 - $1,000

SANTA FE ART AUCTION

129

PLATE COVER ENVELOPES

Modern Blackfoot Burial, ca. 1927 Photogravure on vellum etching stock

PLATE COVER ENVELOPES 308 PEOPLE AND LANDSCAPE PLATE COVER ENVELOPE GROUP - LOT OF 13 Dimensions vary from 5 5/16 x 6 9/16 in. to 5 3/4 x 7 7/16 in. Súmaikuli Katsína at Hano, ca. 1920 Plate cover envelope

Núnhltsistálahl - Qágyuhl, 1914 Plate cover envelope

A Melon Field, ca. 1920 Plate cover envelope

Thinking of the Old Days - Klamath, ca. 1925 Plate cover envelope

The Plaza at Walpi, ca. 1920 Plate cover envelope

Embarking, 1914 Plate cover envelope

Flute Dancers Returning to Walpi, 1905 Plate cover envelope

Among the Tules - Yokuts, ca. 1924 Plate cover envelope

Winnowing Wheat - San Juan, 1905 Plate cover envelope

Start of Whale Hunt, Cape Prince of Wales, 1928 Plate cover envelope

Firing Pottery, ca. 1920 Plate cover envelope

Good - Luck Dance by San Juan Hunters, ca. 1925 Plate cover envelope

Firing Pottery, ca. 1920 Photogravure on Japanese gampi tissue etching stock

$2,500 - $3,500 130

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Snake Jars in the Kiva, 1906 Plate cover envelope

Peeled Squash - Wichita, ca. 1927 Photogravure on Holland Van Gelder etching stock

Snake Jars in the Kiva, 1906 Photogravure on Japanese gampi Tissue etching stock

Hupa Woman’s Dress, ca. 1923 Plate cover envelope

A Gem of Basketry - Southern Yokuts, ca. 1924 Plate cover envelope

Hupa Woman’s Dress, ca. 1923 Photogravure on Holland Van Gelder etching stock

Peeled Squash - Wichita, ca. 1927 Plate cover envelope

$1,000 - $2,000

SANTA FE ART AUCTION

131

PLATE COVER ENVELOPES

309 STILL LIFE PLATE COVER ENVELOPE GROUP - LOT OF 7 Dimensions vary from 7 3/8 x 5 3/8 in. to 5 9/16 x 7 1/2 in.

THE NORTH AMERICAN INDIAN – INDIVIDUAL VOLUMES

310 THE NORTH AMERICAN INDIAN VOLUME VI, 1911 [Piegan, Cheyenne, Arapaho] Individual volume on Holland Van Gelder paper Quarto-sized (313 x 239 mm) 75 photogravures, including 1 hand-colored print. Over 190 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 100. $4,000 - $6,000

311 THE NORTH AMERICAN INDIAN VOLUME III, 1908 [Teton Sioux, Yanktonai, Assiniboin] Individual volume on Japanese Vellum etching stock Quarto-sized (313 x 239 mm) 79 photogravures, including 6 hand-colored prints and 1 map. Over 200 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. $5,000 - $7,000

312 THE NORTH AMERICAN INDIAN VOLUME VII, 1911 [Yakima, Klickitat, Interior Salish, Kutenai] Individual volume on Japanese Vellum etching stock Quarto-sized (313 x 239 mm) 75 photogravures. Over 200 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 125. $4,000 - $6,000

The North American Indian consists of twenty volumes and twenty portfolio sets printed between 1907 and 1930. Each book was hand bound in leather, written with hand-set letter press text, and illustrated with hand-pulled photogravure prints. Every page is printed on handmade imported paper and each volume reveals an incredible amount of anthropological information, including transcriptions of language and music in addition to hand-pulled photogravure prints. To this day, they are widely hailed as the finest set of limited-edition books ever made in America. 132

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314 THE NORTH AMERICAN INDIAN IV, 1909 [Apsaroke, Hidatsa]

Individual volume on Japanese Vellum etching stock Quarto-sized (313 x 239 mm) 75 photogravures, including 1 hand-colored print. Over 190 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 48.

Individual volume on Japanese Vellum etching stock Quarto-sized (313 x 239 mm) 74 photogravures, including 1 hand-colored prints. Over 240 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 437.

$4,000 - $6,000

$6,000 - $8,000

315 THE NORTH AMERICAN INDIAN IX, 1913 [Salishan Tribes Of The Coast, Chimakum, Quilliute, Willapa]

316 THE NORTH AMERICAN INDIAN XI, 1916 [Nootka, Haida]

Individual volume on Holland Van Gelder paper Quarto-sized (313 x 239 mm) 75 photogravures, including 1 hand-colored print. Over 220 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 48.

Individual volume on Holland Van Gelder paper Quarto-sized (313 x 239 mm) 75 photogravures, including 1 hand-colored print. Over 230 pages of text and transcriptions of language and music. Hand letterpress printed on hand-made paper. Hand-bound. Number 48.

$3,000 - $5,000

SANTA FE ART AUCTION

133

THE NORTH AMERICAN INDIAN – INDIVIDUAL VOLUMES

313 THE NORTH AMERICAN INDIAN VI, 1911 [Piegan, Cheyenne, Arapaho]

INDEX OF TITLES WITH LOT NUMBERS

A “Catcher” Picking up a Snake, 239

By the Sycamore - Apache (Variant), 194

A Baby Apsaroke, 141

Camp Under the Cottonwoods - Crow Montana, 98

A Breezy Day at the River, 125

Ceremonial Preparation for Whaling, 2

A Corner of Laguna, 269

Chaiwa - Tewa, 135

A Cowichan Mask (Variant), 32

Chaiwa - Tewa - Profile, 240

A Dancer in the Summer Ceremony, 31

Chijako - Pima, 178

A Gem of Basketry - Southern Yokuts, 298, 299

Children Plate Cover Group - Lot of 4, 302

A Gray Day in the Bad Lands, 58

Chilkat Blanket, the Haida Ceremonial Robe, 210

A Hill Camp - Spokane (Variant), 129

Coast Range - Near Wrangell Narrows (Harriman Expedition), 280

A Hilltop Camp - Jicarilla, 56

Columbia Glacier - Prince William Sound (Harriman Expedition), 278

A Hopi Flock, 146, 147

Contents of Bundle of Numak-Mahana - Mandan, 296

A Hopi Man, 67

Dairy Herd, Puget Sound, 1

A Jicarilla Feast March, 130

Dancing Cheyenne, 27

A Load of Fuel - Zuni (A Zuni Bringing in Wood), 131

Dancing Mask - Nootka, 209

A Nakoaktok Mawihl, 294

Desert Rovers - Apache, 196

A Navaho Child, 69

Dialects and Hunting Territories of the Coast Eskimo of Alaska, 300

A Nootka, 7

Evening on the Sand Dunes, 76

A Point of Interest - Navaho, 186

Fairweather Range and La Perouse Glacier (Harriman Expedition), 279

A Sea-Otter Hunter, 244

Female Portrait Plate Cover Group - Lot of 12, 301

A Snake Priest, 46, 70

Four Horns - Arikara, 91

A Tsawatenok House-Front, 292, 293

From Heather Island (Harriman Expedition), 281, 282, 283

A Walpi Man "Meator" (A Moki Chief), 172

Gánaskidi - Navaho, 18

A Woman of Palm Springs - Cahuilla (Variant)

Gathering Cactus Fruit - Pima, 150

(Wife of Marcos - Palm Canyon - Cahuilla), 108

Gathering Chile - San Juan, 253

A Zuni Doorway, 64, 104, 273

Geronimo - Apache, 170

A Zuni Governor (Sat Sa, a Young Zuni Governor), 174

Getting Water - Apache ("Ter Jar Yill"), 185

A Zuni Woman, 63

Group of Three - Untitled (Mohave Woman with Jar), 202

Among the Oaks - Apache, 55, 100, 121, 122

Group of Three Silver Gelatin Prints (Northwest), 243

Antonio Azul ("Chief"), 139

Group of Three Silver Gelatin Prints (Portraits of Women), 242

Apache Girl, 137

Group of Three Silver Gelatin Prints (Walpi), 247

Apache Guan, 74

Group of Two Photogravures - Seeing High - Oto, 274

Apache Mescal Camp, 195

Group of Two Silver Gelatin Prints (California), 263

Apache Still Life, 120

Group of Two Silver Gelatin Prints (Walpi), 248

Apache Village, 144

Haida Slate Pipe, 225, 226

Architecture Plate Cover Group - Lot of 11, 303

Hámasilahl - Qágyuhl, 19

At the Gateway - Acoma, 57

Havchach - Yuma, 93

At the Shrine - Navaho, 201

Háyas, of Kayung - Haida, 224

Awaiting the Return of the Snake Racers, 215

Head Medicine Woman of Hupa (Variant of Principle Female

Berry Pickers - Kotzebue, 254

Shaman of the Hupa), 223

Big Ox - Apsaroke, 87, 88

Homeward - Puget Sound, 11, 43, 44, 73

Black Hair - Northern Plains Brave, 171

Hopi Bridal Costume, 216

Black Man - Arapaho, 222

Hopi Plate Cover Group - Lot of 7, 304

Broken Fish-weir, 245

Household Utensils, 252

Buffalo Dance Costume - Mandan, 297

Hupa Purses and Money, 249

By The Arrow I Have Said It, 94

Hwalya - Yuma, 188

By the Canal - Maricopa, 26, 164

In the Gray Morning - San Ildefonso, 127

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INDEX OF TITLES WITH LOT NUMBERS

Infant Burial - Apache, 142, 143

Ow - High, 177

Interior of Sun Dance Lodge - Cheyenne, 270

Pachilawa - Walapai Chief, 175

Invocation - Sioux, 140

Papago Primitive Home, 153

Jicarilla Women, 198

Parfleches - Atsina, 286

Kominaka Dancer, 33

Peach Orchard - Havasupai, 155

Koskimo Woman (Crop Variant), 21

Péle - Tewa, 241

Kutenai Profile, 29

People and Landscape Plate Cover Group - Lot of 13, 308

Landscape Plate Cover Group - Lot of 7, 305

Pikehodiklad - Navaho, 288, 290, 291

Lishhaiahit - Kittitas (Leschi), 42

Potter Building Her Kiln (Nampeyo), 106

Lone Tree - Apsaroke, 89

Prayer to the Stars, 25, 159

Lummi Type, 48

Primitive Transportation - Mohave, 126

Lummi Woman, 190

Ready to Throw the Harpoon, 5

Lummi Woman (Crop Variant), 41

Red Plume - Piegan (Variant), 30

Male Portrait Plate Cover Group - Lot of 10, 306

Resting in the Harvest Field - Qahatika, 193

Marcos - Palm Canyon - Cahuilla, 107

Sealer’s Camp - Yakutat Bay, 38

Masked Dancer - Cowichan, 28, 205

Sealers' Bay - Yakutat Bay (Harriman Expedition), 285

Mescal Hills - Apache, 99, 123

Sepulture in a Post at Yan, 271

Miscellaneous Plate Cover Group - Lot of 5, 307

Signal Fire to the Mountain Gods, 10, 24

Mission and Church at Acoma (The Old Mission at Acoma), 111

Sisiutl-Qágyuhl (Variant), 36

Modern Houses at Palm Springs - Cahuilla, 110

Slate Carvings Representing a Haida Shaman (Variant), 40

Modern Yuki Cabin, 268

Snake Jars in the Kiva, 13

Mohave Chief, 114, 187

Still Life - Puget Sound, 79

Mohave Man, 257

Still Life Plate Cover Group - Lot of 7, 309

Mohave Potter, 84

Stone Maze - Mohave, 156

Moki, 136

Story Telling - Apache, 52, 181

Mosquito Hawk - Assiniboin, 68

Straight to Him Drifted the Bluebirds Wing (Flute of the Gods), 9

Mrs. Marcos Under the Palms, 109

Sunset in Navaho Land, 80

Native Americans and Plow, 59

The Apache, 169, 179, 180

Native Drawings of Santo Domingo Masks, 295

The Apache Maiden, 65

Navaho Medicine Man, 92

The Bark Gatherer - Makah, 192

Navaho Races, 102, 103

The Basket Maker - Puget Sound, 161

Navaho Ruins, 113

The Bathing Pool - Apache, 124

Navaho Women, 134

The Delights of Childhood, 261

Nesjaja Htatli - Navaho, 71

The Forest Stream, 219

Nespilim Girl, 81

The Harvard Glacier (Harriman Expedition), 284

Nootka Method of Spearing, 6

The Kiva Stairs - San Ildefonso, 183

Offering Pipe to the Skull - Cheyenne, 39

The Lost Trail - Apache, 182

Offering Sacred Meal, Mishongnovi Flute Dance, 238

The Mescal Harvest - Apache, 184

Old Houses - Neah Bay, 246

The Mescal Pit - Apache, 145

Old Person - Piegan, 275

The Mohave, 151

On a Walpi Housetop (Variant), 112

The Morning Bath - Apache, 77

On the Housetop - Walpi, 154

The North American Indian - Volumes I-XX, 160

On The Little Bighorn - Apsaroke, 204

The North American Indian IV, 314

On the March - Apache, 119

The North American Indian IX, 315

On the Pacific - Homeward Bound (Harriman Expedition), 277

The North American Indian VI, 310, 313

Ovi-Tsa (Duck White), Summer Cacique of Santa Clara, 189

The North American Indian Volume III, 311

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INDEX OF TITLES WITH LOT NUMBERS

The North American Indian Volume VII, 312

Untitled (Male Portrait), 115, 116

The North American Indian XI, 316

Untitled (Man by River), 128

The Oath, 60

Untitled (Masked Dancers in Canoe - Qágyuhl), 232

The Piki Maker, 22, 23, 158

Untitled (Moki Girl with Jar), 173

The Piki Maker - Walpi, 51, 165, 220

Untitled (Ogalala - Sioux), 237

The Pool - Apache, 66, 75

Untitled (Plateau Woman), 47

The Seaweed Gatherer, 20

Untitled (Pool of Water), 199

The Trail to Shipaulovi, 4

Untitled (Southwest Camp), 148

The Vanishing Race - Navaho, 49, 50, 157

Untitled (Stairway to Shipaulovi), 15

The Water Carriers, 200

Untitled (Standing Atop a Kiva), 12

The Water Carriers, 256

Untitled (Tablita Dancers), 264

The Whaler, 218

Untitled (Taos Water Girl), 162

Thinking of the Old Days - Klamath, 235

Untitled (The Bark Gatherer and the Root Digger), 8

Through the Canyon Depths, 101

Untitled (The Lopez Girl - Smith River), 265

Thunderbirds and Whales, 289

Untitled (Tonenili, Tobadzischini, and Nayenezgani - Navaho), 236

Tobacco Ceremony - Apsaroke, 133

Untitled (Totem Pole and House front - Harriman Expedition), 231

Tolowa Dancing Head-Dress, 211

Untitled (Two Leggings Lodge), 16

Tonenili, Tobadizischini, Nayenezgani - Navaho, 96

Untitled (Upshaw - Apsaroke), 262

Tsunukwa at Kwaustums (Variant), 37

Untitled (Variant of 'Primitive Mohave'), 191

Typical Nez Perce (Not Com Sa Haut), 45

Untitled (Variant of A Koskimo House-Post), 228

Under the Cottonwoods - Navaho, 149

Untitled (Variant of Cañon del Muerto - Navaho), 53

Untitled (A Nootka), 258

Untitled (Variant of Flute Dancers at Tureva Spring - Walpi), 14

Untitled (Apache Camp), 54, 61

Untitled (Variant of Masked Dancer - Cowichan), 208

Untitled (Apache Medicine Cap), 251

Untitled (Variant of Skokomish Baskets), 221

Untitled (Apsaroke Warriors), 168

Untitled (Variant of Tawihyilah (Mountain Climber

Untitled (Arikara Man), 217

Embodiment) - Kwakuitl), 207, 229

Untitled (Brave Kneeling by Water), 72, 163, 166

Untitled (Variant of The Bear Costume - Nootka), 230

Untitled (Bull Chief and Shot in the Hand), 3

Untitled (Variant of The Wedding Party - Qágyuhl), 62

Untitled (Edward Curtis' Camp), 272

Untitled (Variant of Waiting for the Seal), 259

Untitled (Female Portrait by Tree), 86

Untitled (Variant of Wáswaslikyi - Qágyuhl), 17, 206

Untitled (Figure in Costume - Qagyhul), 212, 213

Untitled (Variant of Watching for Salmon - Hupa), 276

Untitled (Gathering Cactus Fruit), 255

Untitled (Yei Dancers), 214

Untitled (Great Plains Male Portrait), 90

Untitled (Young Male Portrait), 138

Untitled (Hamasaka in Tluwulahu Costume

Untitled (Zuni Indian Mask of Pakoko), 250

and Tsunukwalahl - Qágyuhl), 203

Village at Little Diomede, 267

Untitled (Hopi Children), 260

Waiting for the Canoe, 233

Untitled (Hopi Dwellings on Mesa), 234

Watching the Morning Races, 97

Untitled (Hopi Man and Donkeys), 197

White Man Runs Him, 132

Untitled (Hopi Man), 176

Winter - Count 1540, 287

Untitled (Hopi Men with Donkeys and Packs), 152

With Her Proudly Decked Horse - Cayuse (Variant), 34

Untitled (Hopi Snake Priest), 95

Yahn at the Grinding Stone, 105

Untitled (House-post - Koskimo), 227

Yebichai - Initiation, 117

Untitled (Jicarilla Child), 82

Yebichai Dancers - Navaho, 167

Untitled (Kwakiutl Female Shaman), 35

Yebichai Sweat - Navaho Medicine Ceremony, 118

Untitled (Laguna Pueblo with Adobe Houses), 266

Zuni Bread Maker, 85

Untitled (Male Portrait with Feather), 78

Zuni Girls, 83

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TERMS & CONDITIONS OF SALE The following Terms and Conditions of Sale are the Santa Fe Art Auction Limited Co.’s (“Santa Fe Art Auction”) and its agents’ and consignors’ entire agreement with the prospective bidders, bidders and buyers relative to the lots listed in this catalogue. The lots will be offered by the Santa Fe Art Auction as agent for the consignors, unless the catalogue indicates otherwise. 1. The Santa Fe Art Auction operates as an agent of the seller only. It is not responsible in the event any buyer or seller at the auction fails to live up to their respective agreements, including failure of the seller to deliver any property to buyers. The Santa Fe Art Auction assumes no risk, liability, or responsibility beyond the limited warranty contained herein. (a) All property is sold “AS IS.” There are no representations or warranties that extend beyond these Terms and Conditions of Sale. All works shall be available for examination prior to the sale. The Santa Fe Art Auction, and its agents and consignors, make no representations or warranties as to merchantability, fitness for a particular purpose, correctness of the catalogue or description, including, but not limited to, the authenticity, the physical condition, size, quality, rarity, importance, medium, provenance, dates, exhibitions, literary or historical relevance of any property, and, no statement anywhere, whether oral or written, whether made in the catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere shall be deemed such a warranty, representation or assumption of liability. Nor are there any representations and warranties, express or implied, as to whether the purchaser acquires any copyrights, including, but not limited to, any reproduction rights in any property. Contents of this catalogue are subject to change or supplementation before or during the sale, including the sale of any lot. 2. Prospective bidders should inspect the lots before bidding to determine condition, size and whether or not the lot has been repaired or restored and to investigate all other matters relating to the lot that is of material importance to the prospective bidder. 3. A buyer’s premium will be added to the successful bid price and is payable by the purchaser as part of the total purchase price. If paying by cash or check, the purchase price will be the sum of the final bid price plus a buyer’s premium of 20% of the final bid price of each lot up to and including $500,000, 18% of the excess of the final bid price above $500,000, and 15% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. The buyer’s premium is calculated separately for each lot. If bidding online with Live Auctioneers or Bidsquare, the purchase price will be the sum of the final bid price plus a buyer’s premium of 23% of the final bid price for each lot up to and including $500,000, 21% of the excess of the final bid price above $500,000, and 18% of the excess of the final bid price above $1,000,000, plus any applicable sales tax, shipping and handling charges. All payments made for lots purchased with a credit card will be subject to a 3% surcharge. 4. Unless exempted by law, the Buyer will be required to pay all applicable state and local sales, gross receipts, and compensation tax. Proof of exemption in the form of a current Non-Taxable Transaction Certificate must be provided at registration. In the event of deliveries outside the state, it is the Purchaser’s responsibility to pay any applicable compensating use tax of another state on the total purchase price. If a buyer requests that artwork be shipped to an address in New York State, we must collect New York sales tax due to an affiliated business located in New York City under recent legislation (Part P-1 of Chapter 57 of the Laws of 2009). • Why Santa Fe Art Auction Collects Sales Tax: New Mexico requires a seller of goods to register with the New Mexico Department of Taxation and Revenue and collect and remit sales tax if the seller maintains a presence within the state. More specifically, tax laws require an auction house, like Santa Fe Art Auction, with a presence in New Mexico, to register as a sales tax collector, and remit sales tax collected to the state. Unless exempted, New Mexico sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New Mexico, regardless of the state or country in which the purchaser resides or does business. ♦ Since the 2018 South Dakota v. Wayfair, Inc. ruling, most US states have implemented legislation requiring remote sellers to collect sales tax when the total dollar value of purchases sent to that state exceeds a set threshold, known as an economic nexus. Each state sets its own threshold or nexus. Like all other remote sellers, Santa Fe Art Auction is now required to collect Sales/Use Tax from buyers in any state when the total dollar value of purchases sent to that state creates a nexus. When this occurs, you will see sales tax included on your invoice. The sales tax rate is determined by the state, county, and city where purchases are shipped. As of January 2021, SFAA has met the nexus in the following states: Arizona, Colorado, Texas and Utah. However, any purchases made in person and/or picked up in person, are subject to applicable New Mexico sales tax instead. • Certain Exemptions: New Mexico allows for specified exemptions to its sales tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Santa Fe Art Auction is not required to collect sales tax from such re-seller. As sales tax laws vary from state to state, Santa Fe Art Auction recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice from their local tax advisors. 5. The Santa Fe Art Auction reserves the right to withdraw any lot before or during the sale and shall have no liability whatsoever for such withdrawal. 138

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6. Except as may be announced by the auctioneer, all bids are per lot, as numbered in the catalogue. 7. The Santa Fe Art Auction reserves the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the Buyer, subject to reserves. In the event of any dispute between bidders, or in the event of doubt as to the validity of any bid, the auctioneer will have the final discretion to determine the successful bidder, cancel the sale, or reoffer and resell the lot in dispute. If any dispute arises after the sale, the Santa Fe Art Auction’s sale record shall be final and conclusive. The Santa Fe Art Auction, in its discretion, may execute orders or absentee bids as a convenience to clients who are not present at the auction; however, the Santa Fe Art Auction is not responsible for any errors or omissions in connection therewith. 8. If the auctioneer, in his or her discretion, determines that any bid is below the reserve of the lot, he or she may reject the same and withdraw the lot from sale, and, if having acknowledged an opening or other bid, the auctioneer decides that any advance thereafter is insufficient, he or she may reject the advance. 9. On the fall of the auctioneer’s gavel, the highest bidder acknowledged by the auctioneer assumes full risk and responsibility for the offered lot, subject to all of the Terms and Conditions of Sale set forth herein, and is immediately obligated to pay the full purchase price. All sales are final and there shall be no exchanges or returns. Payment shall be made by cash, check or wire transfer. As set forth in paragraph 3, above, for an additional percentage Santa Fe Art Auction will also accept credit cards as a form of payment. (Visa and MasterCard only). In addition to other remedies available to Santa Fe Art Auction by law, we reserve the right to impose, from the date of sale, a late charge of 1.5% per month (18% per annum) of the total purchase price, if payment is not made in accordance with the conditions set forth herein. (a) All lots must be removed by the Buyer at his or her expense not later than ten (10) business days following the sale, and, if it is not so removed, (i) a handling charge of 1% of the total purchase price per month, or a portion thereof from the tenth day after the sale (until its removal) will be payable to us by the Buyer, with a minimum of 5% of the total purchase price due for any lot not so removed within 60 days after the sale, and (ii) Santa Fe Art Auction may send the purchased lot to a public warehouse for the account of and at the risk and expense of the Buyer. (b) If any applicable conditions herein are not complied with by the Buyer, the Buyer will be in default, and in addition to any and all other remedies available to the Santa Fe Art Auction and its agents and consignors by law, including, without limitation, the right to hold the Buyer liable for the total purchase price, together with all fees, charges and expenses set forth in these Terms and Conditions of Sale, the Santa Fe Art Auction, at its sole option, may (i) cancel the sale of that, or any other lot or lots sold to the defaulting Buyer, or (ii) resell the purchased lot or lots, whether at auction or by private sale, or (iii) effect any combination thereof. The Buyer will be liable for any deficiency, any and all costs, handling charges, late charges, expenses and commissions of both sales, legal fees and expenses, collection fees and incidental damages. The Santa Fe Art Auction and its agents and consignors shall have all of the rights accorded to a secured party under the New Mexico Uniform Commercial Code. The Buyer of each lot agrees that each lot is unique and that Santa Fe Art Auction, in its sole discretion, shall not be required to sell or otherwise seek to mitigate damages should such Buyer fail to pay the total purchase price. Payment will not be deemed to have been made in full until the Santa Fe Art Auction shall have collected good funds. The Santa Fe Art Auction reserves the right to hold all purchases pending collection of the total purchase price, together with all additional fees, charges and expenses incurred pursuant to these Terms and Conditions of Sale. 10. All lots (unless otherwise indicated by the letters “nr”) are subject to a reserve, which is the confidential minimum price acceptable to the consignor. The Santa Fe Art Auction, or its agents or consignors, may implement such reserve by opening the bidding or they or either of them may bid up to the amount of the reserve by placing successive or consecutive bids for a lot or may bid in response to other bidders. In instances where the Santa Fe Art Auction has an interest in the lot, it may bid up to the reserve to protect such interest. 11. Santa Fe Art Auction is the owner of images of each lot offered for sale and may use such images for its own archival purposes, as well as for advertising and publicity in connection with this or future sales by the Santa Fe Art Auction. 12. These Terms and Conditions of Sale, together with the parties’ respective rights and obligations hereunder, shall be governed and construed and enforced in accordance with the laws of the State of New Mexico, without regard to New Mexico’s rules concerning conflicts of laws. 13. Prospective bidders, bidders and Buyers agree that, in the event of any controversy or claim arising out of or relating to a sale of any lot, the party asserting such controversy or claim shall provide written notice thereof to the other party; that any such controversy or claim not settled within fourteen (14) days of delivery of notice by the other party, including, without limitation, any controversy or claim arising from, or relating to, the sale of any lot or any of these Terms and Conditions of Sale, including the terms of this paragraph, the sole and exclusive means for resolving the dispute shall be by binding arbitration in Santa Fe, New Mexico. Said arbitration shall be confidential and shall be pursuant to the New Mexico

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Uniform Arbitration Act, shall be conducted before a single arbitrator, and shall otherwise be guided by the then extant New Mexico Rules of Arbitration. This Agreement is deemed made in Santa Fe, New Mexico, and is subject to the internal substantive law of the State of New Mexico without regard to conflicts of laws. The award of the arbitrator shall be final, and may be entered into any court having jurisdiction thereof. Each party shall bear that party’s own costs of arbitration and attorney’s fees. 14. The Santa Fe Art Auction is pleased to present to art purchasers shipping options which are explained in the shipping form enclosed in this catalogue. If you misplace this form, call or send an email and another form will be provided. 15. Results are posted on the Santa Fe Art Auction web site and, upon request, may be sent to Buyers, catalogue subscribers, absentee and phone bidders, and other registered bidders. 16. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. 17. These Terms and Conditions are not assignable by any buyer without the prior written consent of the Santa Fe Art Auction. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. 18. No act, omission or delay by the Santa Fe Art Auction shall be deemed a waiver of its rights and remedies under these Terms and Conditions. 19. The Santa Fe Art Auction shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. The Santa Fe Art Auction shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of Santa Fe Art Auction during the sale. 20. Santa Fe Art Auction shall use reasonable efforts to execute online bids in order for online buyers to participate in the auction. Online bidding is provided as an alternative bidding service and should not be considered a replacement for bidding in the room. Santa Fe Art Auction encourages its buyers to weigh the advantages and limitations of live online bidding when deciding whether to bid in the room or online. Santa Fe Art Auction shall not be liable for any errors or omissions made in connection with online bids or the online bidding process. Although Santa Fe Art Auction will do everything in its power to assure all online bids are recognized, Santa Fe Art Auction has no way of guaranteeing that the internet and the online bidding process will be free from technical malfunctions. In the event of a tie between an online bid and a “room” bid, the “room” bid generally will take precedence. “Room” bids include those bids taken from the live auction room(s), telephones, absentee bidders, or bids made by the auctioneer to protect the reserve. Santa Fe Art Auction will not be responsible for errors or failures to execute bids placed on the internet, including, without limitation, errors or failures caused by (i) a loss of connection on Santa Fe Art Auction’s or on the Buyer’s end, (ii) a breakdown or problems with the online bidding software, and/or (iii) a breakdown or problems with a Buyer’s internet connection, computer or system. Santa Fe Art Auction does not accept liability for failing to execute an online internet bid or for errors or omissions in connection with this activity.

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GUIDE FOR BIDDING ABSENTEE BIDS If you are unable to attend the auction in person, and wish to place bids, you may give the Santa Fe Art Auction Bid Department instructions to bid on your behalf. Our representatives will then try to purchase the lot or lots of your choice for the lowest price possible, and never for more than the top amount you indicate. The Santa Fe Art Auction offers this service as a convenience to clients who are unable to attend the auction. However, the Santa Fe Art Auction will not be responsible for failure to execute bids, or any errors in executing bids. PLACING ABSENTEE BIDS Absentee bids are accepted only if you have returned a signed Absentee Bid Form which authorizes the Santa Fe Art Auction to place bids on your behalf. The Absentee Bid Form appears online at our website and by request. Please complete and return to the Santa Fe Art Auction by June 25, 2021, 5 PM MDT. To place bids, please use the Absentee Bid Form. Be sure the lot number and the descriptions are accurate and note the top price you are willing to pay for each lot. Any alternative bids should be indicated by using the word “OR” between lot numbers. Then if your bid on an early lot is successful, we will not continue to bid on other lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for alternative lots until a bid is successful. Bids must be placed in the same order as the lot numbers appear in this catalogue. Please place your bids as early as possible. In the event of identical bids, the earliest bid received will take precedence.

TELEPHONE BIDS Telephone bids are accepted only if you have returned a signed telephone bid form by mail or fax which authorizes the Santa Fe Art Auction to place bids on your behalf. The Telephone Bid Form is available online at our website and by request. Please check the telephone bid box on the form, complete, and return to the Santa Fe Art Auction by June 25, 2021, 5 PM MDT. Telephone bidders are encouraged to leave back up bids in case of technical difficulties. A Top Limit bid need not be specified.

BUYER’S PREMIUM The top limit you indicate on your bid form is the hammer price exclusively. Please keep in mind that a buyer’s premium, as stated in paragraph 3 of the terms and conditions of sale, will be added to the successful bid price of each lot you buy and is payable by you together with the applicable sales tax which is applied to the total cost of the purchase.

SUCCESSFUL BIDS Successful absentee bidders will be notified and invoiced within a few days of the sale. Successful absentee bidders shall arrange to make payment via cash, check, credit card or wire transfer upon receipt of notification of purchase.

BIDDING INCREMENTS Bidding increments are as follows, but may vary at the sole discretion of the auctioneer: Estimate Increment Under $2,000 $100 $2,000 – $5,000 $250 $5,000 – $10,000 $500 $10,000 – $20,000 $1,000 $20,000 – $50,000 $2,500 $50,000 – $100,000 $5,000 OVER $100,000 $10,000

NOTES

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932 Railfan Road

UPCOMING AUCTIONS New Mexico Now: Spanish Colonial to Spanish Market Saturday, July 24, 2021 American Indian + Tribal Arts Classic to Contemporary Saturday, August 14, 2021 20th Century Art, Design + Photography Saturday, September 11, 2021 Timepieces + Luxury Accessories Saturday, October 16, 2021 Annual Signature Live Auction Saturday, November 6, 2021

Fine Consignments Always Welcome

932 Railfan Road, Santa Fe, New Mexico 87505 505.954.5858 info@santafeartauction.com @santafeartauction.com santafeartauction.com