EDWARD S. CURTIS THE SOUTHWEST SELECTED IMAGES
“It’s such a big dream, I can’t see it all.” —Edward S. Curtis
Edward S. Curtis, Self-Portrait, 1899
VINTAGE PHOTOGRAVURES
Alchise - Apache, 1903 Vintage Photogravure; Portfolio I, Plate 5 PRINT BACKGROUND: This vintage photogravure is in overall excellent condition. “VAN GELDER ZONEN MADE IN HOLLAND� blind stamp in left margin. Excellent ink impression. This original vintage photogravure is printed on Dutch Van Gelder. This is an expensive, heavyweight, hand-made etching stock selected by Curtis for this project. The print has been professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty.
A Son of the Desert - Navaho, 1904 Vintage Photogravure; Portfolio I, Plate 132 This is widely regarded as one of Curtis’ most compelling, evocative, and sought-after portraits. This vintage tissue photogravure brings an added depth and beauty to this early, classic Curtis portrait. Curtis’ portraits of children are relatively rare, a fact which makes this portrait even more desirable. It is printed in the photogravure process on the rare “tissue” printing stock. Tissue photogravures are noted for their luminosity and fine resolution. While beautiful and delicate, tissue photogravures have great strength and durability. Because original purchasers had to pay a premium for the tissue print, it is estimated that only 10-15% of Curtis’ photogravures were made on tissue. PRINT BACKGROUND: This vintage photogravure is in excellent condition. ‘VAN GELDER ZONEN MADE IN HOLLAND” watermark at right margin of vintage overmat. Excellent ink impression. This print has been professionally conserved (washed and de-acidified) and will last for several hundred years, or more, if properly cared for. This original vintage photogravure is printed on handmade Japanese gampi (“tissue”) paper. This is the rarest and most expensive of the three original paper stocks chosen by Curtis and J.P. Morgan for Curtis’ North American Indian project. Only Morgan and a few others paid the substantial premium to get the rare tissue edition. Tissue prints are noted for their subtlety, luminosity, and strength. Gampi papermaking is a millennia old tradition in Japan and the art is often handed down within a family from generation to generation over hundreds of years.
The Apache, 1906 Vintage Photogravure; Potfolio I, Plate 7 PRINT BACKGROUND: This vintage photogravure is in excellent condition. It has a custom, hand-made facsimile overmat that is nearly indistinguishable from the vintage Van Gelder overmat that Curtis used for photogravures on Japanese gampi. Excellent ink impression. This original vintage photogravure is printed on Dutch Van Gelder. This is an expensive, heavyweight, hand-made etching stock selected by Curtis for this project. This photogravure was professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty.
A Hopi Man, 1904 Vintage Photogravure; Portfolio XI, Plate 420 This is a beautiful vintage tissue photogravure of this early, compelling, and iconic portrait by Edward Curtis. The power and immediacy of this portrait is deepened by the strength and intensity of the subject, who gazes intently and directly into the camera. The simplicity of the composition, the lighting, and the subject’s garb make this arresting portrait even more compelling. This is one of Curtis’ most famous and sought-after portraits. It is printed in the photogravure process and is on the rare “tissue” (Japanese gampi paper) printing stock. Tissue photogravures are prized by connoisseurs for their luminosity and sharp resolution. While beautiful and delicate, tissue photogravures have great strength and durability. Because original purchasers had to pay a premium for a tissue impression, it is estimated that only 10-15% of Curtis’ photogravures were made on this rare hand-made paper. J.P. Morgan, Edward Curtis, and The King of England were among the few who opted for these premium tissue prints. PRINT BACKGROUND: This vintage photogravure and overmat are in excellent condition. It is an excellent, rich impression and a fine example of the photogravure process on rare gampi “tissue” paper. Watermark “Van Gelder Zonen Made in Holland” in right margin of vintage overmat. This photogravure was professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty. This original vintage photogravure is printed on handmade Japanese gampi (“tissue”) paper. This is the rarest and most expensive of the three original paper stocks chosen by Curtis and J.P. Morgan for Curtis’ North American Indian project. Only Morgan and a few others paid the substantial premium to get the rare tissue edition. Tissue prints are noted for their subtlety, luminosity, and strength. Gampi papermaking is a millennia old tradition in Japan and the art is often handed down within a family from generation to generation over hundreds of years.
Vash Gon – Jicarilla, 1904 Vintage Photograuve; Portfolio I, Plate 20 This is a classic, award-winning Curtis portrait that exemplifies his mastery of both the photographic medium and the Pictorialist aesthetic. Curtis was an accomplished practitioner of Pictorialism and noted author on the same subject. To achieve the desired ef- fect, Curtis created a narrowed format, eliminated the detail in the lower portion of the photograph and with dramatic lighting and composition, emphasized the strength of this Apache chief. This was clearly one of Curtis’ most famous and sought-after images as Curtis printed it in at least five different print mediums (some- thing he did for fewer than twelve of his 40-50,000 negatives). It was also reproduced in magazines and newspapers of the time and was used by Curtis for important promotional purposes (includ- ing the poster for the Picture Musicale). The Jicarilla inhabited a large, mountainous area in Northern New Mexico. While linguistically of Apache stock, culturally and spiritually they were more closely related to the Navaho. They were a fierce but relatively small group who interacted frequently with, and were influenced by, tribal groups both from the Plains to the north and the Pueblos to the south. PRINT BACKGROUND: This is a beautiful tissue photogravure in extraordinary condition. This photogravure has been professionally washed and de-acidi- fied, as has been the over-mat. The non-archival under-mat has been replaced with a contemporary, archival mat. Tissue was the premium paper which only the King of England, J.P. Morgan, Teddy Roosevelt, Edward Curtis and approximately ten other sub- scribers acquired.
A Hopi Mother, 1921 Vintage Photogravure; Portfolio XII, Plate 403 Curtis’ photographs of mothers with their child are scarce and highly sought-after, especially in this large format (15.5” x 10.25”.) This vintage photogravure on rare handmade gampi “tissue” print stock, is elegant in its simplicity as well as its tender depiction of a mother carrying her small son. She wears garments traditional for Hopi woman: an undyed cotton robe, which passed under the left arm and was fastened above the right shoulder with the edges overlapping at the right side, and an embroidered wool belt. Arms and lower legs were unadorned. This portrait is unusual in the utter simplicity of the clothing, the background, and the composition thus, allowing the viewer to be fully focused on the individual subjects and their relationship. PRINT BACKGROUND: This vintage photogravure and overmat are in excellent condition. It is an excellent, rich impression and a fine example of the photogravure process on rare gampi “tissue” paper. Watermark “Van Gelder Zonen Made in Holland” in right margin of vintage overmat. This photogravure was professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty. This original vintage photogravure is printed on handmade Japanese gampi (“tissue”) paper. This is the rarest and most expensive of the three original paper stocks chosen by Curtis and J.P. Morgan for Curtis’ North American Indian project. Only Morgan and a few others paid the substantial premium to get the rare tissue edition. Tissue prints are noted for their subtlety, luminosity, and strength. Gampi papermaking is a millennia old tradition in Japan and the art is often handed down within a family from generation to generation over hundreds of years.
Okuwa-Tse “Cloud Yellow� - San Ildefonso, 1905 Vintage Photogravure; Portfolio XVII, Plate 582 PRINT BACKGROUND: This vintage photogravure is in overall excellent condition. Minor handling marks at the bottom margin. Excellent ink impression. This original vintage photogravure is printed on Japanese Vellum. This is an expensive hand-made paper selected by Curtis and noted for its hard surface and fine resolution. The Vellum stock is very resistant to contamination and wear and rarely requires conservation. This print will last for several hundred years, or more, if properly cared for.
A Zuni Woman, 1903 Vintage Photogravure; Portfolio XVII, Plate 614 15 3/4” x 11”
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 Zuni pottery, which in this case is supported on her head by a woven yucca ring. Today the Zuni are world famous for their beautiful pottery, which is collected internationally. PRINT BACKGROUND: This vintage vellum photogravure is in overall excellent condition. This original photogravure is printed on Japanese Vellum. This is an expensive handmade paper specifically selected by Curtis and J.P. Morgan for Curtis’ North American Indian project and noted for its smooth surface and fine resolution. The Vellum stock, produced one hundred years ago, is very resistant to contamination and damage and rarely requires conservation.
An Acoma Woman, 1926 Vintage Photogravure; Portfolio XVI, Plate 572 PRINT BACKGROUND: This vintage photogravure is in excellent condition. “VAN GELDER ZONEN MADE IN HOLLAND” watermark at right margin. Excellent ink impression. This original vintage photogravure is printed on a fine Dutch Van Gelder etching stock, handmade in Holland one hundred years ago. This is an expensive, heavyweight, etching stock selected by Curtis and J.P. Morgan specifically for Curtis’ North American Indian project. This photogravure was professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty.
Honovi Walpi Snake Priest, With Totokya Day Painting, 1921 Vintage Photogravure; Portfolio XII, Plate 408 7 3/4” x 6 7/8” PRINT BACKGROUND: This vintage photogravure is in excellent condition. It has a custom, hand-made facsimile overmat that is nearly indistinguishable from the vintage Van Gelder overmat. Very good ink impression. This original vintage photogravure is printed on Japanese Gampi (“tissue”). This is the rarest and most expensive of the three original etching stocks used by Curtis. Only J.P. Morgan and a few others paid the substantial premium to get the tissue edition. Tissue is noted for its subtlety, luminosity, and strength. This print has been professionally conserved (washed and de-acidified) and will last for several hundred years, or more, if properly cared for.
Zuni Girls at the River, 1903 Vintage Photogravure; Portfolio XVII, Plate 610 PRINT BACKGROUND: This vintage photogravure is in overall excellent condition. Watermark “VAN GELDER ZONEN MADE IN HOLLAND” in print margin. Excellent ink impression. This original photogravure was professionally conserved (washed and de-acidified) to restore it to its original archival state and beauty. It is printed on a fine Dutch Van Gelder etching stock, handmade in Holland one hundred years ago. This is an expensive, heavyweight, etching stock selected by Curtis and J.P. Morgan specifically for Curtis’ North American Indian project.
“I like a man who attempts the impossible” —J.P. Morgan
Photograph by Edward Steichen, 1903
VINTAGE MASTERWORKS
The Vanishing Race - Navaho, 1904 Vintage Goldtone 11” x 14”
“The Vanishing Race” was Curtis’ signature piece. It was the visual metaphor for the core conceptual underpinning of Curtis’ entire thirty-year project i.e., that Native Americans, as a culture at least, were vanishing. It became Curtis’ over-arching goal to create a record of them and their world before they disappeared forever. Curtis searched for an image to embody 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 classic.
A Chief of the Desert, 1904 Vintage Platinum Print 7 3/4” x 6 7/8”
This iconic Curtis portrait not only shows us this noble individual, but also the characteristic qualities of his tribe: pride, vitality, and self-reliance. This enduring image was a Curtis favorite, which he printed in a variety of photographic processes. This image has been widely reproduced and exhibited. Another platinum print of “A Chief of the Desert” was one of only two Curtis photographs in a major exhibition originated by the Victoria and Albert Muse- um, which was seen by over one third of a million museum- goers. Platinum prints comprise less than 0.5% of Curtis’ extant work and this rare platinum print has its original mount. Fewer than one in four hundred Curtis prints exist in this original form of presentation. PRINT BACKGROUND: It is believed that this print is one of three or fewer to exist in this presentation. This particular print has an important exhibition history and has been reproduced in numerous publications. This vintage platinum print on handmade paper is in excellent condition and has excellent print quality. Original ink signature remains crisp and strong.
Canyon de Chelly - Navaho, 1904 (Printed 1905-10) Vintage Gelatin Silver Print 8” x 9 7/8”
Canyon de Chelly (pronounced “de chay”, after the Navaho “Ta Shé”) is to this day one of the most sacred places for the Navaho peoples. It is located in Northeastern Arizona in the heart of Nava- ho country. Of Curtis’ 50,000 negatives this is widely considered to be his single most important and powerful landscape. The insignificance of man relative to nature is clearly illustrated through the sheer size (approximately 1,000 feet high) of enduring cliff formations that surround the riders. “Canyon de Chelly” was clearly one of Curtis’ favorite and most iconic images as he printed it in at least four different photographic processes. This “border print” is a rare example. Curtis created the duotone border in the darkroom to enhance the aesthetic appeal of the image. It is estimated that fewer than 1 in 500 vintage Curtis prints were done in this time-consuming presentation, adding to its desirability for sophisticated collectors. The print itself is a beautiful, compelling object and it is one of only three Canyon de Chelly border prints that Cardozo has seen in his forty years of collecting. PRINT BACKGROUND: This vintage gelatin silver print is in excellent overall condition and print quality is also excellent.
The Scout - Apache, 1906 Vintage Gelatin Silver Print 10 3/8” x 12 7/8”
This iconic Curtis photograph was made in the high mountains of Apache-land in Arizona. The lone rider, a scout, rides through the arid mountains surrounded by large yucca plants. He most likely is a member of the White Mountain Apache tribe, which occupied areas of southeastern Arizona. He wears a simple breach cloth and side-knotted headband and is riding bareback, as was the custom. The inclusion of a strong foreground plus the dramatic cloud formations in the background both isolate and emphasize the horse and rider. The strong backlighting further adds to the drama and the impact of the image. This rare gelatin silver print is in a form of presentation commonly known as a “Border” print. The duotone border was created in the darkroom to enhance the aesthetic appeal of the print. It is estimated that as few as one in fivehundred of Curtis’ prints were done in this way. Curtis rarely made gelatin silver prints for exhibition or sale, as is the case here, thus adding to their rarity and desirability. It is believed that five or fewer border prints of this image exist. PRINT BACKGROUND: This vintage gelatin silver print is in excellent overall condition. Print quality is excellent and original ink signature remains strong and crisp.
A Zuni Governor, 1900 (Printed 1903) Vintage Gelatin Silver Print 15 3/4” x 11”
This is one of Curtis’ most compelling and iconic portraits. Made of an important leader (“Sa We Ta Fina”) in the Northern New Mexico pueblo of Zuni (which is still famous for its beautiful and stylized pottery). The subject has an unusually focused and intent gaze, which is accentuated by the strong, clean, and elegant composition and the dramatic lighting. This is, and was, clearly one of Curtis’ most important portraits and it was printed by Curtis in at least three different media for exhibition and or sale. This particular print, a toned gelatin silver print of exhibition size, is perhaps the very earliest known example of this image, most likely created shortly after the negative was made. The fact that this may well be the earliest print in existence of this iconic image makes it extremely important and desirable. In his thirty-eight years of collection Christopher Cardozo has not seen another print of the “Zuni Governor” that is similar to this one. PRINT BACKGROUND: This vintage gelatin silver print is in excellent overall condition. Print is mounted on historic board. Print quality is excellent and the extremely early signature remains strong and crisp.
Tapa “Antelope Water” - Taos, 1905 Vintage Platinum Print 16 1/2” x 12 1/2”
This stunning portrait is of a young man from the Taos Pueblo, in northern New Mexico, wrapped in simple white cotton cloth. This was, and remains today, traditional dress for men in Taos Pueblo. This iconic Curtis photograph was produced as a small format photogravure (approximately 7”x5” image size) in The North American Indian. In this large format, it exists only in platinum print form. It is believed that only five or six of these large format platinum prints exist. It has always been very highly sought after as a platinum print, on a par with portraits of Chief Joseph or “A Walpi Man”. This is an extremely beautiful example of this photograph: open, luminous, subtle, and warm toned. PRINT BACKGROUND: This vintage photograph is from the personal collection of Christopher Cardozo (“The Christopher G. Cardozo/Edward S. Curtis Collection”) This vintage platinum print is in excellent overall condition. Print quality is excellent and original ink signature remains strong and crisp.
A Walpi Man, 1900 (Printed 1903) Vintage Platinum Print 15 1/8” x 10 1/5”
The “Walpi Man”- 1900, is an iconic Curtis portrait, aesthetically in the top one tenth of one percent of all of Curtis’ work. This 16” x 12” platinum print is beautifully printed and in excellent condition. It has a very pleasing warm hue and an open, luminous 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. This image has been used for the cover of a major Curtis book, Sacred Legacy, and in exhibitions in over forty countries. Of Curtis’ 40-50,000 images, many consider this to be one of his most compelling. This is also one of Curtis’ most historically significant images as it was made during Curtis’ first independent, self-financed trips into the field, in 1900. Additionally, the subject is Hopi, a tribal group with whom Curtis was especially close. Included with the print is a substantially intact, rare original mount. PRINT BACKGROUND: This print is in overall excellent condition. Excellent print quality.
“Taken as a whole, the work of Edward Curtis is a singular achievement. Never before have we seen the Indians of North America so close to the origins of their humanity, their sense of themselves in the world, their innate dignity and self-possession.” —N. Scott Momaday Pulitzer Prize Winning Native American Author
“Thank you for showing me my culture.” — from the Beauty, Heart and Spirit Exhibition guestbook. Cargill Gallery, Minneapolis 2012
“Recently I went to the Minneapolis American Indian Center...On the second floor of the center, I noticed a series of faded Curtis photographs on display. As I walked along the corridor examining the images, I was startled and moved to see that one pictured my great-great-grandfather. Through these powerful images we are reminded that our relatives are always with us. Eventually I saw several Native American kids with their parents who were also looking at the photograph. I couldn’t help overhear- ing their conversation and their fascination with the images. It was evident in their eyes that Cutis’s work had survived not only as a testament to one man’s vision, but also as a glimpse into the past for generations of Indian people.” —Joseph D. Horse Capture An excerpt from “A Personal Legacy”, a letter from Sacred Legacy
Photograph by Edward Curtis, c. 1905
“It is not the critic who counts; not the man who points out how the strong man stumbles…The credit belongs to the man who is actually in the arena… who does actually strive to do the deeds…and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.” —President Theodore Roosevelt
Untitled Self-Portrait (Curtis with whale), 1914