The Artist’s Final Vision Edward S. Curtis’ The North American Indian has been described by leading scholars, curators, and archivists as one of the largest anthropological enterprises ever undertaken. The North American Indian was part history, part anthropology, part technology, and part fine art photography. The copper photogravure plates are major cultural icons derived from the importance of the entire 30-year-long project. The North American Indian is a 20-volume text that covers over 100 Native American tribes. Curtis worked entirely with the consent of the tribes that he studied, allowing them a role in their depiction, and in turn, he was able to document and record
significant cultural information that had not been available before or since. Curtis accompanied his text with approximately 2,228 individual photographic illustrations, which he created via the photogravure process. As an added and unexpected benefit, the copper photogravure plates, created for The North American Indian, have a multi-purpose quality to them: they are simultaneously research tools, institutional collectibles, museum, private gallery and exhibition displays and a means for cultural revitalization for Native Americans. Their value is to be measured not only in terms of their impact on current audiences including Native Tribes, historians, collectors, curators and museum professionals, but also on how well they can be preserved for future generations as examples of
the multi-dimensional complexity of the western American experience. The copper plates signify the artist’s final vision for his lifelong project, and the final creative and visual record of his images. Curtis’ plates are truly unique as there are multiple prints of an image but only one plate. He would often spend time reworking and editing the image on each plate. The quality of the etching and the intrinsic beauty of the copper add a certain aesthetic value that is distinct to this medium. Each plate is a one-of-a-kind piece, which exists simultaneously as both a work of fine art and a valuable historical artifact.
Edward S. Curtis - Self Portrait c. 1889-1899
“In Mr. Curtis we have both an artist and a trained observer, whose pictures are pictures, not merely photographs; whose work has far more than mere accuracy, because it is truthful…Mr. Curtis because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field, surrounded by the wildlife he commemorates. Mr. Curtis in publishing this book is rendering a real and great service; a service not only to our own people, but to the world of scholarship everywhere.” -Teddy Roosevelt - 26th President of the United States Curtis called himself “the photo historian” of his time. Curtis’ immense work contains the single most major visual records of Native Americans in existence.
“Curtis’ work gives Native Americans information on their own ancestors, which they are glad to have. Curtis’ work provides Native Americans a bright light of knowledge and confidence that they might not have possessed prior to knowing his work; and we are thankful for his record. The ultimate beauty of The North American Indian lies not only with the photographic genius of E. S. Curtis, but also and perhaps most importantly within his subjects. The native beauty, strength, pride, honor, dignity and other characteristics may have been captured by photographic techniques, but they were first an essential part of the people.” -George Horse Capture - Smithsonian Institute whose grandfather, Horse Capture was photographed by Curtis Curtis fully worked with the permission of the tribes he photographed and the tribal members that he interviewed. Therefore, he was able to witness and record significant cultural information, not available to others before and since that time. Due to their importance as cultural artifacts and the documentation of their ancestors, complete sets of relevant Photogravure Plates have been acquired by Native American tribes.
The Plates
In the Bad Lands Portfolio 3, Plate 119 vintage large format copper photogravure printing plate 13 15/16 x 17 3/8 in. 1904
This striking picture was made at Sheep Mountain in the Bad Lands of Pine Ridge reservation, South Dakota. -Edward S. Curtis
Chief Garfield - Jicarilla Portfolio 1, Plate 21 vintage large format copper photogravure printing plate 18 x 13 1/4 in. 1904
Some years ago the Jicarillas were all officially given Spanish or English names. Many of them expressed a preference. This old man, who was head-chief at the time, selected the designation Garfield. -Edward S. Curtis
Placating the Spirit of a Slain Eagle - Assiniboin Portfolio 18, Plate 634 vintage large format copper photogravure printing plate 17 7/8 x 13 in. 1907
For their feathers, which were used in many ways as ornaments and as fetishes, eagles were caught by a hunter concealed in a brush covered pit. A rather elaborate ceremony took place over the bodies of the slain birds for the purpose of placating the eagle spirits. The Sarsi custom is described at some length in Volume XVIII, pages 95-99. -Edward S. Curtis
The Apache Portfolio 1, Plate 7 vintage large format copper photogravure printing plate 18 x 13 in. 1906
This picture might be titled “Life Primeval.� It is the Apache as we would mentally picture him at the time of the Stone Age. It was made at a spot on Black river, Arizona, where the dark, still pool breaks into the laugh of the radids. -Edward S. Curtis
Nesjaja Hatali - Navaho Portfolio 1, Plate 31 vintage large format copper photogravure printing plate 17 1/8 x 12 7/8 in. 1904
A well known Navaho medicine-man. While in the Canon de Chelly the writer witnessed a very interesting four days’ ceremony given by the Wind Doctor. Nesaja Hetali was also assistant medicine-man in the in the two nine days’ ceremonies studied-one in Canon del Muerto and the other at the mouth of the Canon de Chelly. The elaborate dry-painting illustrated in the Portfolio (No.39) is reproduced from one made and used by this priest-doctor in the Mountain Chant. -Edward S. Curtis
Vash Gon - Jicarilla Portfolio 1, Plate 20 vintage large format copper photogravure printing plate 18 x 10 1/2 in. 1904
Eskadi - Apache Portfolio 1, Plate 16 vintage large format copper photogravure printing plate 17 3/16 x 11 7/8 in. 1903
A headsman of one of the bands, and a particularly fine Apache type. -Edward S. Curtis
A Hopi Man Portfolio 12, Plate 420 vintage large format copper photogravure printing plate 17 3/4 x 12 7/8 in. 1921
In this physiognomy we read the dominant traits of Hopi character. The eyes speak of wariness, if not of downright distrust. The mouth shows great possibilities of unyielding stubbornness. Yet somewhere in this face lurks an expression of masked warm heartedness and humanity. -Edward S. Curtis
The Potter - Santa Clara Portfolio 17, Plate 602 vintage large format copper photogravure printing plate 18 x 14 in. 1905
Only with considerable practice can pottery be fired successfully. The vessels and the surrounding fuel of dry dung must be so placed, and the fire must be so controlled that, while perfect combustion takes place, high temperature shall not develop too quickly. Cracked and blackened ware is the penalty of inexperience and carelessness. -Edward S. Curtis
The Offering - San Ildefonso Portfolio 17, Plate 586 vintage large format copper photogravure printing plate 17 7/8 x 12 7/8 in. 1925
A pinch of cornmeal tossed into the air as an offering to the numerous deities of the Tewa, but especially to the sun, is a formality that begins the day and precedes innumerable acts of the most commonplace nature. -Edward S. Curtis
Lawyer - Nez Perce Portfolio 8, Plate 264 vintage large format copper photogravure printing plate 18 x 12 5/8 in. 1905
The original of this portrait is amember of the family of that Lawyer who played a prominent part of Nez Perce affairs in the years following the treaty of 1855. -Edward S. Curtis
In A Piegan Lodge Portfolio 6, Plate 188 vintage large format copper photogravure printing plate 14 1/4 x 17 1/4 in. 1910
Little Plume with his son Yellow Kidney occupies the position of honor, the space at the rear opposite the entrance. The picture is full of suggestion of the various Indian activities. In a prominent place lie the ever present pipe and its accessories on the tobacco cutting board. From the lodge poles hang the buffalo skin shiled, the long medicine bundle, an eagle wing fan and a deerskin articles for accoutering the horse. The upper end of the rope is attached ot the intersection of the lodge poles and in stormy weather the lower end is made fast to a stake near the centre of the floor space. -Edward S. Curtis
Ogalala War Party Portfolio 3, Plate 77 vintage large format copper photogravure printing plate 14 1/8 x 17 5/16 in. 1908
Here is depicted a group of Sioux warriors as they appeared in the days of intertribal warfare, carefully making their way down a hillside in the vicinity of the enemy’s camp. Many hold in their hands, instead of weapons, mere sticks adorned with eagle feathers or scalps - the so called coup sticks - desiring to win honor by striking a harmless blow therewith as well as to inflict injury with arrow or bullet. -Edward S. Curtis
Bear-Bull - Blackfoot Portfolio 18, Plate 640 vintage large format copper photogravure printing plate 17 3/4 x 13 in. 1926
Offering to the Sun - San Ildefonso Portfolio 17, Plate 592 vintage large format copper photogravure printing plate 18 1/16 x 13 1/8 in. 1925
A Hopi Girl Portfolio 12, Plate 406 vintage large format copper photogravure printing plate 17 3/4 x 12 5/8 in. 1905
Soft, regular features are characteristic of Hopi young women, and no small part of a mother’s time used to be devoted to dressing the hair of her unmarried daughters. The aboriginal style is rapidly being abandoned, and the native one piece dress here illustrated is seldom seen even at the less advanced of the Hopi pueblos. -Edward S. Curtis
Luzi - Papago Portfolio 2, Plate 53 vintage large format copper photogravure printing plate 18 x 11 3/4 in. 1907
The Papago women always carry their burdens on or supported from their heads. When the burden - be it basket, pottery or a box - has a flat or rounded bottom, the ring of woven yucca is placed on the head in order to give the load a firm position for carrying and to relieve the bearer of the pressure. -Edward S. Curtis
Dusty Dress - Kalispel Portfolio 7, Plate 238 vintage large format copper photogravure printing plate 18 x 12 5/8 in. 1910
This Kalispel young woman, Skofilpa, is garbed in a dress ornamented with shells that imitate elk tusks. The braids of hair are wound with strips of otter fur, and a weasel skin dangles from each. The bands of white on the hair are effected with white clay. -Edward S. Curtis
Sioux Camp Portfolio 3, Plate 93 vintage large format copper photogravure printing plate 14 3/8 x 17 3/8 in. 1907
It was customary for a war party to ride in circles about the tipi of their chief before starting on a raid into the country of the enemy. -Edward S. Curtis
The Chief and His Staff - Asparoke Portfolio 4, Plate 137 vintage large format copper photogravure printing plate 14 1/4 x 17 1/2 in. 1905
Raven Blanket - Nez Perce Portfolio 8, Plate 259 vintage large format copper photogravure printing plate 17 7/8 x 12 5/8 in. 1910
Assiniboin Hunter Portfolio 18, Plate 630 vintage large format copper photogravure printing plate 18 x 13 1/8 in.
Awaiting the Scouts’ Return - Atsina Portfolio 5, Plate 181 vintage large format copper photogravure printing plate 14 1/4 x 17 7/16 in. 1908
The war party sent scouts far in advance, who kept a constant lookout for the enemy. From time to time they returned to the main party to report, and when they were sighted the warriors formed in line and chanted a song of welcome. -Edward S. Curtis
Crater Lake Portfolio 13, Plate 463 vintage large format copper photogravure printing plate 13 3/4 x 17 in. 1923
Crater Lake, a body of water indescribably blue, occupies an extinct crater in the heart of the Cascade mountains of southern Oregon. It is on the boundary of what was formerly the territory of the Klamath Indians, who held it to be especially potent in conferring shamanistic power upon men who there fasted and bathed. An important Klamath myth seeks to account for the former absence of fish from Crater Lake, a condition that was altered in 1888 by the introduction of trout. -Edward S. Curtis
Povitamu (“Flower Morning�) - San Ildefonso Portfolio 17, Plate 581 vintage large format copper photogravure printing plate 18 1/8 x 13 1/4 in. 1925
The flower concept is a favorite one of Tewa names, both masculine and feminine. The regular features of the comely Morning Flower are not exceptional, for most Tewa girls, and indeed most Pueblo girls, are not without attractiveness. -Edward S. Curtis
Atsina Chiefs Portfolio 5, Plate 172 vintage large format copper photogravure printing plate 18 x 11 3/4 in. 1908
The Chief - Klamath Portfolio 13, Plate 470 vintage large format copper photogravure printing plate 13 3/4 x 17 in. 1923
The subject of this plate, in deerskin suit and feathered war bonnet of the Plains culture, is shown against a background of Crater Lake and its precipitous rim towering a thousand feet above the water. -Edward S. Curtis
At the Ford - Cheyenne Portfolio 6, Plate 214 vintage large format copper photogravure printing plate 14 1/4 x 17 1/2 in. 1910
The picture represents a party of warriors on the march. The scene is at Tongue River, in Montana. -Edward S. Curtis
The Blanket Weaver - Navaho Portfolio 1, Plate 34 vintage large format copper photogravure printing plate 13 5/8 x 17 3/8 in. 1904
A Chipewyan Tipi Among the Aspens Portfolio 18, Plate 616 vintage large format copper photogravure printing plate 17 7/8 x 13 in.
Portal - San Xavier Del Bac Mission Portfolio 2, Plate 52 vintage large format copper photogravure printing plate 17 7/8 x 13 1/8 in. 1907
San Xavier del Bac is one of the most beautiful of the old Southwestern mission churches. The mission was founded in 1692; the construction of the present church was commenced in 1783 and finished fourteen years later. It has recently been repaired and is in a good state of preservation. -Edward S. Curtis
Saguaro Fruit Gatherers - Maricopa Portfolio 2, Plate 69 vintage large format copper photogravure printing plate 14 1/8 x 17 3/8 in. 1907
Like their Pima neighbors, the Maricopa gether large quantities of the fruit of the saguaro, or giant cactus, which they relish in its natural state as well as in the form of wine or preserve. -Edward S. Curtis
The Potter Mixing Clay Portfolio 12, Plate 419 vintage large format copper photogravure printing plate 13 9/16 x 16 3/4 in. 1912
This woman, so aged that her shriveled skin hangs in folds, still finds pleasure in creating artistic and utilitarian pieces of pottery. -Edward S. Curtis
Basketry of the Mission Indians Portfolio 15, Plate 509 vintage large format copper photogravure printing plate 13 7/8 x 17 1/4 in. 1924
Saguaro Harvest - Pima Portfolio 2, Plate 40 vintage large format copper photogravure printing plate 18 x 13 1/4 in. 1907
The fruit of the saguaro, or giant cactus, called hasen by the Pima, forms a very important source of the food supply of the tribes of southern Arizona. This fruit is about the size of a small pear and is very sweet. It is eaten fresh, dried, or in the form of syrup and a sort of wine is made from its juice. In gathering it the natives use a long pole with a wooden blade at the end. -Edward S. Curtis
The Middle Columbia Portfolio 8, Plate 288 vintage large format copper photogravure printing plate 18 x 13 3/8 in. 1910
This picture was made a few miles above the Cascades of the Columbia. -Edward S. Curtis
Washo Baskets Portfolio 15, Plate 541 vintage large format copper photogravure printing plate 13 5/8 x 17 1/8 in. 1924
Spokane Camp Portfolio 7, Plate 243 vintage large format copper photogravure printing plate 14 1/4 x 17 1/8 in. 1910
The scene is the narrow bench some hundreds of feet above the level of Spokane River, on its northern bank and a few miles above its confluence with the Columbia. -Edward S. Curtis
Yokuts Basketry Designs (b) Portfolio 14, Plate 503 vintage large format copper photogravure printing plate 17 7/8 x 13 1/4 in. 1924
The Pima Woman Portfolio 2, Plate 44 vintage large format copper photogravure printing plate 18 x 13 1/4 in. 1907
This picture gives also an idea of the size attained by the giant cactus or saguaro. -Edward S. Curtis
Embarking - Kutenai Portfolio 7, Plate 250 vintage large format copper photogravure printing plate 14 5/16 x 17 1/8 in. 1910
The picture was made near the southern end of Flathead Lake, in northwestern Montana. -Edward S. Curtis
Village of the Kalispel Portfolio 7, Plate 239 vintage large format copper photogravure printing plate 13 7/16 x 17 3/16 in. 1910
The Kalispel, who now number about a hundred, are scattered along the eastern side of Pend d’Oreille River in eastern Washington. In the summer they assemble in their picturesque village, consisting of a few wooden houses and a dozen or more canvas covered tipis at the edge of a camas meadow opposite the town of Cusick. -Edward S. Curtis
A Stormy Day - Flathead Portfolio 7, Plate 233 vintage large format copper photogravure printing plate 14 1/8 x 17 1/8 in. 1910
The day was a succession of sudden squalls descending from the near by mountains. Just a moment before sunset, when all hope of accomplishing anything with a camera was abandoned, the sun broke through the clouds for an instant, and this striking picture was obtained. -Edward S. Curtis
Paguate Watchtower Portfolio 16, Plate 579 vintage large format copper photogravure printing plate 13 3/4 x 17 1/4 in. 1925
Custer’s Crow Scouts Volume Plate + Print, 3-24 vintage small format copper photogravure printing plate 7 x 8 3/8 in.
The Lookout - Apsaroke Volume Plate, 4-38 vintage small format copper photogravure printing plate 7 x 8 3/8 in.
On the Banks of the Missouri
Antelope Ruin - Canon del Meurto
Volume Plate, 5-01
Volume Plate, 1-55
vintage small format copper photogravure printing plate 9 x 6 3/8 in.
vintage small format copper photogravure printing plate 8 7/8 x 6 3/8 in.
Gathering Cactus Fruit - Pima Volume Plate, 2-05
vintage small format copper photogravure printing plate 8 7/8 x 6 3/8 in.
The Cliff Dweller Volume Plate, 17-01
vintage small format copper photogravure printing plate 9 x 6 1/2 in.
Alchise - Apache
Yellow Horse-Yanktonai
Volume Plate, 1-12 vintage small format copper photogravure printing plate 8 7/8 x 5 3/4 in.
Volume Plate, 3-63 vintage small format copper photogravure printing plate 9 x 5 7/8 in.
Ko-pi (“Buffalo Mountain�) - San Juan
Zuni Ornaments
Volume Plate, 17-25 vintage small format copper photogravure printing plate 9 x 6 1/2 in.
Volume Plate, 17-56 vintage small format copper photogravure printing plate 9 x 6 1/2 in.
Hano and Walpi Girls Wearing Atoo Volume Plate, 12-15 vintage small format copper photogravure printing plate 9 x 6 1/2 in.
Navaho Still Life Volume Plate, 1-49 vintage small format copper photogravure printing plate 6 1/4 x 8 3/4 in.
Hastin Yazhe - Navaho Volume Plate, 1-47 vintage small format copper photogravure printing plate 8 7/8 x 5 in.
Long Fox Volume Plate, 3-66 vintage small format copper photogravure printing plate 8 7/8 x 5 3/4 in.
Kaistosinikyi (“Kill-for-nothing�) - Blood
Flying Shield - Yanktonai
Volume Plate, 18-24 vintage small format copper photogravure printing plate 9 x 6 1/2 in.
Volume Plate, 3-68 vintage small format copper photogravure printing plate 9 x 5 3/4 in.
East Mesa Pottery Volume Plate, 12-13 vintage small format copper photogravure printing plate 7 x 8 1/2 in.
Kalispel Village Volume Plate, 5-42 vintage small format copper photogravure printing plate 6 1/2 x 8 1/4 in.
Shiwawatiwa - Zuni Volume Plate, 17-55 vintage small format copper photogravure printing plate 7 1/8 x 8 1/2 in.
Washo Basketry Design Volume Plate, 15-74 vintage small format copper photogravure printing plate 7 1/16 x 8 1/2 in.
A 2nd Story Apartment At Paguate Volume Plate, 16-74 vintage small format copper photogravure printing plate 9 x 6 1/2 in.
45188 Portola Avenue Palm Desert, CA 92260 760-346-8926 P.O. Box 3580 172 Center Street Suite 101 Jackson Hole, WY 83001 307-200-6090 heatherjames.com