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Performing Archive Main Menu Visualizing the “Vanishing Race”: the photogravures of Edward S. Curtis Front Page for Visualizing the "Vanishing Race" path Curtis' Image and Life: The Network of The North American Indian, Inc. An experiment with data visualization approach to understand and contextualize Curtis' images and his life Media, Technology and Mediations Curtis's Technology, Relationships to Media and Style Contextualizing Curtis, The North American Indian, and Race the collection of essays from the contributors Consulting with Tribes as Part of Archive Development Introduction to Consulting with Tribes by Ulia Gosart Contributing Archives Information on how to participate in Performing Archive Browsing the Media A path of paths that allow users to cut through the collection in a variety of ways. Acknowledgements and Project Information Project Network

Princess Angeline

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"Woman" Erik Loyer
Contents of this path:
1. Apache reaper
2. Pima woman
3. Mohave water carrier
4. Judith - Mohave
5. Tonovige - Havasupai
6. Ogalala woman
7. Sioux girl
8. Two Bear Woman - Piegan
9. Dusty dress - Kalispel
10. Nespilim woman
11. Piopio-maksmaks - Wallawalla Piopio-maksmaks, quoted in Volume VIII, pages 20-21, is the son of the Piopio-maksmaks who as principal chief of the Wallawalla negotiated a treaty with Governor Isaac I. Stevens in the Wallawalla valley in 1855. The father was killed while a captive of the Oregon volunteers, and the son thereafter lived permanently among the Nez Perces, having married a woman of that tribe. Piopio-maksmaks possesses as unusually strong face, and his remarkably piercing eye betokens a man possessing the courage characteristic of his family and tribe.
12. Wishham woman
13. Columbia near Wind River
14. On the beach - Chinook
15. Chief's daughter - Skokomish
16. Suquamish woman
17. Princess Angeline
18. Lummi woman
19. Painting a hat - Nakoaktok The painter is clad in a short, seamless, cedar-bark cape, which is worn for protection from rain. That she is a woman of wealth and rank is shown by the abalone-shell nose-ornament and the gold bracelets, no less than by her possession of a "chief's hat". These waterproof hats, of a form borrowed from the Haida are made of closely woven shreds of fibrous spruce-roots, and are ornamented with one of the owner's crests - a highly conventionalized painting of some animal or mythological being.
20. Koskimo woman
21. Hesquiat woman
22. Into the shadow - Clayoquot
23. Nootka woman wearing cedar-bark blanket
24. Bark gatherer
25. Nootka woman
26. Haiyahl - Nootka
27. Hopi woman
28. Potter mixing clay
29. Klamath woman
30. Karok baskets The basketry of the Karok does not differ from that of the Hupa and the Yurok. The process is always twining, and the usual materials are hazel rod for the warp, roots of the digger or the yellow pine for the weft, and Xerophyllum grass for white overlay, bark of the maidenhair fern for black, and fibres from the stem of Woodwardia fern, dyed in alder-bark juice in the mouth of the workwoman, for red. Represented in the plate are the receptacle for the storage of seeds and nuts, the burden-basket, the winnowing tray, various sizes of mush-baskets and food containers, and the cradle-basket.
31. Old Klamath woman
32. Hupa woman
33. Woman's primitive dress - Tolowa
34. Achomawi basket-maker The Achomawi, or Pit River Indians, produce baskets only by the process known as twining, which is true weaving, never by coiling, which is actually a sewing process. In general their baskets have bottoms and sides slightly rounded, openings broad, and depth rather shallow. The usual materials are willow rods for the warp, or upright elements, and pie-root strands for the weft, or horizontal elements. The structure in the background is a summer hut, a rudely conical or hemispherical tipi covered with tule mats. The workwoman is wearing a rabbit-skin robe.
35. Hupa woman in primitive costume
36. Coast Pomo woman
37. Aged Pomo woman
38. Wappo woman
39. Yaundanchi Yokuts woman
40. Cupeño woman The Cupeño are a small Shoshonean group of mountaineers formerly residing at the head of San Luis Rey river in north-central San Diego county. Popularly known as Aguas Calientes and as Warner's Ranch Indians, they gained considerable prominence at the beginning of the century when the Supreme Court ruled adversely upon their title to the land of their nativity. In 1903 they were settled at Pala reservation on lands adjoining those of the Luiseños, and their former habitat is now beautiful Warner's ranch. Cupeño is a Spanish derivative of Kupa, the name of their former village. The surviving population of Wolak, the other Cupeño settlement, is now on Los Coyotes reservati
41. Serrano woman of Tejon The Serranos (Spanish, "mountaineers"), a Shoshonean branch comprising numerous local groups, occupied San Bernardino valley, San Bernardino mountains north of Los Angeles and San Bernardino, a portion of Mojave desert north of that range and east of Mojave river, and Tehachapi mountains. This last group, who lived principally on El Paso and Tejon creeks, were the Kitanemuk. In 1853 most of the resident Indians, including not only various Shoshoneans but many Yokuts, were taken to Tule river reservation. Tejon rancheria remains, however, a settlement of various Shoshoneans, but predominantly Kitanemuk
42. Desert Cahuilla woman
43. Diegueño woman of Santa Ysabel
44. Diegueño woman of Campo
45. Datsolali, Washo basket-maker The coiled baskets produced by this woman have not been equalled by any Indian now living. Compare her work, shown in Plate 541, with the baskets of another woman as illustrated in Plate 542. The latter, seen alone, would be very excellent examples of Indian basketry, but their comparative coarseness is easily seen even in photographic reproduction. About ninety years old, Datsolali appears to be in the early sixties. She has the pride of a master in his craft, and a goodly endowment of artistic temperament. Persuading her to sit for a portrait is a task not to be lightly undertaken. Tatsolali (said to mean "big hips") is a nickname. Her proper name is Tabuta.
46. Washo woman
47. Walvia
48. Taos woman
49. Aiyowitsa - Cochiti
50. Acoma woman
51. Zuni woman
52. Maricopa woman mealing
53. An Apache-Mohave woman
54. Good Day Woman - Ogalala
55. Apsaroke woman
56. A young horsewoman
57. Flathead woman - Apsaroke
58. Hidatsa woman
59. Scattered Corn Woman - Mandan
60. Arikara woman
61. Piegan woman
62. Cheyenne woman
63. Cheyenne young woman
64. Flathead young woman
65. Spokan woman
66. Kutenai woman
67. Typical Spokan woman
68. Cayuse woman
69. Wishham young woman
70. Cowichan woman
71. Chimakum woman
72. A woman of Hesquiat
73. A shaman or medicine woman
74. Costume of a woman shaman - Clayoquot
75. Woman shaman looking for clairvoyant visions - Clayoquot
76. Clayoquot woman in cedar-bark hat
77. A Clayoquot woman
78. A Makah woman
79. A woman of Nootka
80. A Hopi woman
81. Hupa woman
82. Hupa woman's dress
83. Karok woman
84. Achomawi woman
85. Klamath woman
86. A Kato woman
87. A Wailaki woman
88. Old woman in mourning - Yuki
89. A Yuki woman
90. Eastern Pomo woman
91. A southern Miwok woman
92. A Maidu woman
93. A Chukchansi woman
94. A Chukchansi woman - Profile
95. A Yaudanchi Yokuts woman
96. A Chukchansi Yokuts woman - A
97. A Chukchansi Yokuts woman - B
98. A Cupeño woman
99. A desert Cahuilla woman
100. A Santa Ysabel woman -
101. A southern Digueño woman
102. Paviotso woman of Pyramid Lake
103. A woman of Palm Springs - Cahuilla
104. A Capitan Grande woman -
105. A young woman of Campo -
106. A Paviotso woman of Walker Lake
107. A Washo woman.
108. An Isleta woman
109. A Cochiti woman
110. Tablita woman dancer - San Ildefonso
111. A Chipewyan woman
112. A Piegan woman
113. An old woman - Blood
114. A Blackfoot woman
115. Isqe-sis ("Woman Small") and chile - Cree
116. Cree woman with fur robe
117. A Sarsi woman
118. Missi-tsatsa -- "Owl Old-woman"
119. Woman's costume and baby swing - Assiniboin
120. Woman's costume - Cheyenne
121. Selawik woman
List of Large Plates Supplementing Volume Nine Erik Loyer
Contents of this path:
"Portrait" Erik Loyer
Contents of this path:
1. Geronimo - Apache This portrait of the historical old Apache was made in March, 1905. According to Geronimo's calculation he was at the time seventy-six years of age, thus making the year of his birth 1829. The picture was taken at Carlisle, Pennsylvania, the day before the inauguration of President Roosevelt, Geronimo being one of the warriors who took part in the inaugural parade at Washington. He appreciated the honor of being one of those chosen for this occasion, and the catching of his features while the old warrior was in a retrospective mood was most fortunate.
2. Alchise - Apache
3. Kaviu - Pima
4. Captain Charley - Maricopa
5. Tonovige - Havasupai
6. Jack Red Cloud
7. Little Hawk
8. Yellow Kidney - Piegan
9. Cheyenne type
10. Flathead type
11. Luqaiot - Kittitas The original of this portrait is a son Owhi (Ohai), who as chief of the Salishan band inhabiting Kittitas valley, Washington, at first appeared to favor the Stevens treaty of 1855, but a few months later was drawn into the Indian uprising by the act of another son, Qahlchun, in killing some prospectors. At the termination of hostilities Luqaiot made his permanent home among the Spokan, taking for his wife the daughter of a Spokan chief and widow of his executed brother Qahlchun. Luqaiot's recollections of the events of these times will be found scattered through the account of the Yakima war in Volume VII.
12. Typical Nez Perce
13. Lawyer - Nez Perce
14. Old "Ukiah" - Pomo
15. Datsolali, Washo basket-maker The coiled baskets produced by this woman have not been equalled by any Indian now living. Compare her work, shown in Plate 541, with the baskets of another woman as illustrated in Plate 542. The latter, seen alone, would be very excellent examples of Indian basketry, but their comparative coarseness is easily seen even in photographic reproduction. About ninety years old, Datsolali appears to be in the early sixties. She has the pride of a master in his craft, and a goodly endowment of artistic temperament. Persuading her to sit for a portrait is a task not to be lightly undertaken. Tatsolali (said to mean "big hips") is a nickname. Her proper name is Tabuta.
16. Ambrosio Martinez - San Juan
17. Zuni governor
18. Old Eagle - Oto
19. Esipermi - Comanche There were no more vigorous people among the Indians of the Plains than the Comanche, a Shoshonean tribe, related to the Shoshone and Bannock of Idaho, from which region they entered the northern plains and drifted ever southward, following the bison in their wanderings. They were noted warriors and raiders, being the enemies of many tribes and extending their depredations far into Mexico. One need look no farther than the accompanying portraits to discern the warrior character of those old braves.
20. Uyowutcha - Nunivak
21. Ugiyaku - Nunivak
22. Curtis and His Collaborators
23. Focus on the Portraits: Video Essay
24. AfterImages
25. Geronimo
26. The Literariness of the Curtis Photographs
27. The Literariness of the Curtis Photographs: Bibliography
28. The Literariness of the Curtis Photographs
29. The Literariness of the Curtis Photographs: Endnotes
30. Warm tones and Wigs
31. Chief Josef –Nez Perce
32. Jackson and Curtis at the end
33. Upshaw – Apsaroke
34. Princess Angeline
35. Visualizing the "Vanishing Race": the photogravures of Edward S. Curtis Bibliography
36. Oldest man of Nootka
37. Hesquiat woman
38. A woman of Hesquiat
39. A Zuni Woman
40. Pima matron
41. Judith - Mohave
42. Tonovige - Havasupai
43. Ogalala woman
44. Sioux girl
45. Two Bear Woman - Piegan
46. Dusty dress - Kalispel
47. Nespilim woman
48. Piopio-maksmaks - Wallawalla Piopio-maksmaks, quoted in Volume VIII, pages 20-21, is the son of the Piopio-maksmaks who as principal chief of the Wallawalla negotiated a treaty with Governor Isaac I. Stevens in the Wallawalla valley in 1855. The father was killed while a captive of the Oregon volunteers, and the son thereafter lived permanently among the Nez Perces, having married a woman of that tribe. Piopio-maksmaks possesses as unusually strong face, and his remarkably piercing eye betokens a man possessing the courage characteristic of his family and tribe.
49. Suquamish woman
50. Princess Angeline
51. Lummi woman
52. Koskimo woman
53. Hesquiat woman
54. Nootka woman wearing cedar-bark blanket
55. Nootka woman
56. Haiyahl - Nootka
57. Hopi woman
58. Klamath woman
59. Old Klamath woman
60. Hupa woman
61. Coast Pomo woman
62. Aged Pomo woman
63. Wappo woman
64. Yaundanchi Yokuts woman
65. Cupeño woman The Cupeño are a small Shoshonean group of mountaineers formerly residing at the head of San Luis Rey river in north-central San Diego county. Popularly known as Aguas Calientes and as Warner's Ranch Indians, they gained considerable prominence at the beginning of the century when the Supreme Court ruled adversely upon their title to the land of their nativity. In 1903 they were settled at Pala reservation on lands adjoining those of the Luiseños, and their former habitat is now beautiful Warner's ranch. Cupeño is a Spanish derivative of Kupa, the name of their former village. The surviving population of Wolak, the other Cupeño settlement, is now on Los Coyotes reservati
66. Serrano woman of Tejon The Serranos (Spanish, "mountaineers"), a Shoshonean branch comprising numerous local groups, occupied San Bernardino valley, San Bernardino mountains north of Los Angeles and San Bernardino, a portion of Mojave desert north of that range and east of Mojave river, and Tehachapi mountains. This last group, who lived principally on El Paso and Tejon creeks, were the Kitanemuk. In 1853 most of the resident Indians, including not only various Shoshoneans but many Yokuts, were taken to Tule river reservation. Tejon rancheria remains, however, a settlement of various Shoshoneans, but predominantly Kitanemuk
67. Desert Cahuilla woman
68. Diegueño woman of Santa Ysabel
69. Diegueño woman of Campo
70. Datsolali, Washo basket-maker The coiled baskets produced by this woman have not been equalled by any Indian now living. Compare her work, shown in Plate 541, with the baskets of another woman as illustrated in Plate 542. The latter, seen alone, would be very excellent examples of Indian basketry, but their comparative coarseness is easily seen even in photographic reproduction. About ninety years old, Datsolali appears to be in the early sixties. She has the pride of a master in his craft, and a goodly endowment of artistic temperament. Persuading her to sit for a portrait is a task not to be lightly undertaken. Tatsolali (said to mean "big hips") is a nickname. Her proper name is Tabuta.
71. Washo woman
72. Walvia
73. Taos woman
74. Acoma woman
75. Zuni woman
76. A Cree woman
77. Dog woman - Cheyenne
78. Woista - Cheyenne woman
79. Ugiyaku - Nunivak
80. Woman and child - Nunivak
81. An Apache-Mohave woman
82. Good Day Woman - Ogalala
83. Flathead woman - Apsaroke
84. Hidatsa woman
85. Scattered Corn Woman - Mandan
86. Arikara woman
87. Piegan woman
88. Cheyenne woman
89. Cheyenne young woman
90. Spokan woman
91. Cayuse woman
92. Wishham young woman
93. Cowichan woman
94. Chimakum woman
95. A Clayoquot woman
96. A Makah woman
97. A woman of Kiusta - Haida
98. A woman of Massett - Haida
99. A Hopi woman
100. Hupa woman
101. Karok woman
102. Achomawi woman
103. Klamath woman
104. A Kato woman
105. A Wailaki woman
106. Old woman in mourning - Yuki
107. A Yuki woman
108. A southern Miwok woman
109. A Maidu woman
110. A Chukchansi woman

This page is referenced by:

Who was Edward Curtis? Edward Sheriff Curtis was born on February 18, 1868 near Whitewater, Wisconsin. His father, Johnson Asahel Curtis, served as an army chaplain and Union private during the Civil War. When Edward was about 5 years old, his family moved to Minnesota. Unable to work in farming due to wounds from the war, Johnson became a preacher for United Brethren Church, taking young Edward with him on evangelical tours through the countryside. Johnson fostered Edward’s love of the outdoors during their time together. When Edward was 12 years old, he used Wilson’s Photographic Manual to build his first camera. Due to Johnson’s deteriorating health, Edward had to take over responsibility for supporting his entire family (mother, father, younger brother and younger sister) at only 14 years old. With the Curtis family farm failing, Johnson and Edward established a new home in the Washington Territory in what is now Port Orchard. Johnson died only three days after the rest of the family moved to their new home, making Edward the head of the Curtis household at 20 years old. In his new home, Edward met his future wife Clara and continued to pursue photography, purchasing his second camera, a 14 by 17 inch large view. In 1891, Edward decided to make photography his full-time career, relocating the family to Seattle and purchasing a share in a photography studio with Rasmus Rothi. In 1892, Edward left his studio with Rothi to create the premiere photographic portrait studio in the city with Thomas Guptill. Edward also married Clara that year and lived with her above the studio. The next year, their first son was born. Around 1895, Curtis became fascinated with the Native American populations in the Seattle area. He took many photographs of Princess Angeline, the daughter of Chief Siahl. Curtis and Guptill’s studio continued to earn accolades from the National Photographers Convention and Argus magazine. In 1897, Guptill left the studio, making it “Edward S. Curtis Photographer and Photoengraver.” Clara helped Edward manage the business. The next year, 1898, the National Photographic Society exhibits several of Curtis’ photos (including some of Princess Angeline) . The society also awarded him the grand prize and gold medal for his photo “Homeward,” which depicts Native Americans in a canoe. The same year, Edward rescued a lost climbing party on Mt. Rainier, including George Bird Grinnell, an influential naturalist who shared Curtis’ interest in Native Americans, and Clinton Hart Merriam, the founder of the National Geographic Society. They invited Curtis to be the official photographer for the Harriman Expedition to Alaska. On the expedition, Curtis learned the ethnographic skills he needed to further his photography of Native Americans. In 1903, he began his North American Indian project. Although various institutions and publishers refused him funding, he acquired the support of J.P. Morgan and President Theodore Roosevelt. He spent the next 30 years traveling around the Western United States territories learning about, recording, photographing and filming Native American tribes. Although his marriage failed and he faced numerous financial hardships, Curtis persisted. He finished the final 20th volume of The North American Indian in 1930. The Great Depression hit and Curtis’ photography business struggled. Throughout the rest of his life, he worked on a film The Plainsman with Cecil B. DeMille, mined gold, and wrote his memoirs, with the encouragement of his daughters. He died at age 84 and is buried in Forest Lawn Cemetery in Los Angeles, California.