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Nomad's Scrimshaw

Culture/People:
Bering Strait Inupiaq [King Island]  Search this
Artist/Maker:
Bernard T. Katexac (Bernard Tuglamena Katexac), Bering Strait Inupiaq [King Island], 1922-1997  Search this
IACB agent:
Extension Center for Arts and Crafts, University of Alaska  Search this
Ronald Senungetuk, Inupiaq (Alaskan Inupiat Eskimo), 1933-2020  Search this
Previous owner:
Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this
IACB source:
Bernard T. Katexac (Bernard Tuglamena Katexac), Bering Strait Inupiaq [King Island], 1922-1997  Search this
Title:
Nomad's Scrimshaw
Object Name:
Print
Media/Materials:
Paper, ink
Techniques:
Etched/Aquatint printed
Dimensions:
38.5 x 53.5 cm
Object Type:
Painting/Drawing/Print
Place:
Fairbanks; Doyon Native Corporation; Alaska; USA
Date created:
1966
Catalog Number:
26/2349
Barcode:
262349.000
See related items:
Bering Strait Inupiaq [King Island]
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_278459

Model

Culture/People:
Bering Strait Inupiaq [King Island]  Search this
Artist/Maker:
Bernard T. Katexac (Bernard Tuglamena Katexac), Bering Strait Inupiaq [King Island], 1922-1997  Search this
IACB agent:
Extension Center for Arts and Crafts, University of Alaska  Search this
Ronald Senungetuk, Inupiaq (Alaskan Inupiat Eskimo), 1933-2020  Search this
Previous owner:
Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this
IACB source:
Bernard T. Katexac (Bernard Tuglamena Katexac), Bering Strait Inupiaq [King Island], 1922-1997  Search this
Title:
Model
Object Name:
Print
Media/Materials:
Paper, ink
Techniques:
Etched/printed
Dimensions:
25.2 x 30.8 cm
Object Type:
Painting/Drawing/Print
Place:
Fairbanks; Doyon Native Corporation; Alaska; USA (inferred)
Date created:
1965
Catalog Number:
26/2324
Barcode:
262324.000
See related items:
Bering Strait Inupiaq [King Island]
Painting/Drawing/Print
Data Source:
National Museum of the American Indian
EDAN-URL:
edanmdm:NMAI_278434

Vaclav Vytlacil papers, 1885-1990

Creator:
Vytlacil, Vaclav, 1892-1984  Search this
Subject:
Lazzell, Blanche  Search this
Haley, John Charles  Search this
Larsen, Susan C.  Search this
Day, Worden  Search this
Ryder, Worth  Search this
Albers, Josef  Search this
Vytlacil, Elizabeth Foster  Search this
Wessels, Glenn A. (Glenn Anthony)  Search this
Feigl, Hugo  Search this
Rivera, Diego  Search this
Thurn, Ernest  Search this
Manoir, Irving K. (Irving Kraut)  Search this
Matter, Mercedes  Search this
Jensen, Alfred  Search this
Zalmar  Search this
Hans Hofmann School of Fine Arts (Munich, Germany)  Search this
Type:
Sound recordings
Etchings
Interviews
Woodcuts
Photographs
Scrapbooks
Prints
Motion pictures (visual works)
Writings
Topic:
Painters  Search this
Art teachers  Search this
Record number:
(DSI-AAA_CollID)13411
(DSI-AAA_SIRISBib)211466
AAA_collcode_vytlvacl
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211466
Additional Online Media:

Edward S. Curtis papers and photographs

Creator:
Curtis, Edward S., 1868-1952  Search this
Extent:
86 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1895-2001
bulk 1898-1951
Scope and Contents:
The Edward S. Curtis papers and photographs, circa 1895-2001 (bulk 1898-1951) primarily relate to Curtis's work on his opus, the North American Indian (NAI), although other subjects are documented as well. The papers relate closely to the Edward S. Curtis papers at the University of Washington Libraries Special Collections (UW), as that collection was donated by Curtis's daughter Florence Graybill and appears to be part of the same body of materials that was maintained by Curtis, and after his death, by Florence. Occasionally a correspondence exchange or manuscript draft is divided between the National Anthropological Archives and UW. Also found in both collections are notes, mostly dated 1951, in Curtis's handwriting on slips of paper or the document itself that gives an explanation of the document.

The collection includes correspondence, research notes, NAI files and promotional material, writings and memoirs, a small amount of material relating to a complaint regarding his reporting in NAI of certain Pueblo ceremonies, and correspondence and other documents relating to his gold mining interests. Also included are papers of Florence Graybill, who published on Curtis after his death and maintained contacts with various individuals and entities involved in Curtis exhibits, publications, and sales.

The correspondence exchanges are almost exclusively NAI related and document the relationships Curtis had with various influential people, including Gifford Pinchot, Joseph Blethen, Jacob Riis, William Farabee, Smithsonian scholars Frederick Webb Hodge and Matilda Coxe Stevenson, and the immediate and extended family of Theodore Roosevelt. Included are letters of introduction for Curtis as he sought to promote his work.

The research notes consist of a small mixture of writings on field experiences as well as maps used during his fieldwork (the bulk of Curtis's fieldnotes and NAI manuscripts are at the Seaver Center in the Los Angeles County Museum of Natural History). The NAI files chiefly contain material promoting the work, such as published reviews, articles, and ephemera, but there are a few North American Indian Inc. business records (the bulk of the business records are maintained at the Pierpont Morgan Library). Of note is a lengthy annual report for the North American Indian, Inc., in which Curtis explains difficulties encountered in the fieldwork and volume publication. Related to his NAI work are letters and other materials documenting a 1934 complaint from Harold Ickes, Secretary of the Interior on Curtis's reporting of certain Pueblo ceremonies, as well as Curtis's response.

The writings comprise manuscript drafts on various topics. Most are short, stand-alone stories relating to his NAI work, often relaying a story about his own experiences. Similar stories can be found in Florence Graybill's papers, as she published some of them after his death. Also part of the writings are drafts for several chapters of Curtis's unpublished memoir, "As it Was."

Curtis's interest in gold mining is represented in correspondence and other material dating from 1938-1950. Most of the letters are between Curtis and his son Harold. Curtis's invention of a concentrator for separating fine gold from placer tailings is also documented in photographs and drawings.

Florence Graybill's papers pertain to writings, talks, and projects relating to Curtis after his death. Included are publication files for Graybill's biography of Curtis written with Victor Boesen, Visions of a Vanishing Race, as well as other of her articles and book reviews. Graybill's correspondence reveals her commitment to assist scholars and others interested in researching and exhibiting Curtis material, as well as her communication with individuals having a commercial interest in Curtis. Also present are Graybill's lecture notes for talks given, and articles and newspaper features on Curtis written by others.

The photographs in this collection primarily relate to Curtis's NAI work (1898-1927) and are a mix of original and working copy negatives, prints, and transparencies. The original negatives are remarkable in that they reveal some of Curtis's working methods in crafting his images through pencil and other enhancements, as well as showing removal of unwanted items from the image. Also of note are two original logbooks used for recording negatives from approximately 1895-1916. The majority of the prints appear to be silver gelatin prints made for reference; however, there are a fair number of platinum prints as well as several blue-toned silver prints in the collection. There are only a few cyanotypes.

Among the photographs is a deerskin-bound photograph album containing Harriman Alaska Expedition and NAI photographs, representing some of Curtis's earliest Native American subjects. These include images of people from the Puget Sound area as well as from his 1900 trip to the Blackfoot reservation. There are no annotations in the album; however, tucked among the pages are a few small notes of identification in Curtis's handwriting.

Photographs documenting other subjects are also present to a lesser degree. Among these are photographs of Curtis's Seattle photography studio, a 1915 Grand Canyon trip, hop field workers in the Puget Sound area, and Curtis's illustrations for Marah Ryan's book Flute of the Gods. Additionally, the collection contains a number of photographs of Curtis, his children, and portraits of various individuals including Theodore Roosevelt and actor Anna May Wong.
Arrangement:
The Edward S. Curtis papers and photographs are arranged into the following 10 series:

Series 1: Biographical information, 1919-1952

Series 2: Correspondence, 1904-1951

Series 3: Research notes, 1900-1930, undated

Series 4: North American Indian, circa 1906-1920

Series 5: Writings, 1906, 1948, undated

Series 6: Complaint regarding Curtis's reporting of Pueblo ceremonies, 1924-1935

Series 7: Gold mining, 1938-1950

Series 8. Florence Curtis Graybill papers, 1948-2001

Series 9: Photographs, circa 1896-1927

Series 10: Duplicate material, undated
Biographical / Historical:
Edward Sherriff Curtis (1868-1952) was an American photographer famous for his photographs of the indigenous peoples of North America. His work was highly influential in shaping a sympathetic yet romantic view of cultures that he and many others believed to be "vanishing." Over the course of 30 years, Curtis visited more than 80 Native American communities and published his photographs and ethnographies in the twenty-volume North American Indian (NAI) (1907-1930).

Curtis was born in Whitewater, Wisconsin, to Ellen and Johnson Curtis in 1868. In about 1874, his family moved to a farm in Cordova, Minnesota. At a young age, Curtis built a camera, and it is possible that he may have worked in a Minneapolis photography studio for a time. In 1887, Curtis and his father moved West and settled on a plot near what is now Port Orchard, Washington, with the rest of the family joining them the following year. When Johnson Curtis died within a month of the family's arrival, 20-year-old Curtis became the head of the family.

In 1891, Curtis moved to Seattle and bought into a photo studio with Rasmus Rothi. Less than a year later, he and Thomas Guptill formed "Curtis and Guptill, Photographers and Photoengravers." The endeavor became a premier portrait studio for Seattle society and found success in photoengraving for many local publications. In 1892, Curtis married Clara Phillips (1874-1932) and in 1893 their son Harold was born (1893-1988), followed by Elizabeth (Beth) (1896-1973), Florence (1899-1987) and Katherine (Billy) (1909-?). Around 1895, Curtis made his first photographs of local Native people, including the daughter of Duwamish chief Seattle: Kickisomlo or "Princess Angeline." Curtis submitted a series of his Native American photographs to the National Photographic Convention, and received an award in the category of "genre studies" for Homeward (later published in volume 9 of the NAI). In 1896, the entire Curtis family moved to Seattle, which included Curtis's mother, his siblings Eva and Asahel, Clara's sisters Susie and Nellie Phillips, and their cousin William Phillips. Most of the household worked in Curtis's studio along with other employees. Curtis became sole proprietor of the studio in 1897, which remained a popular portrait studio but also sold his scenic landscapes and views of the Seattle Area. Curtis also sent his brother Asahel to Alaska and the Yukon to photograph the Klondike Gold Rush, and sold those views as well. Asahel went on to become a well-known photographer in his own right, primarily working in the American Northwest.

Curtis was an avid outdoorsman and joined the Mazamas Club after his first of many climbs of Mount Rainier. On a climb in 1898, Curtis met a group of scientists, including C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot, who had lost their way on the mountain, and led them to safety. This encounter led to an invitation from Merriam for Curtis to accompany a group of over 30 well-known scientists, naturalists, and artists as the official photographer on a maritime expedition to the Alaskan coast. Funded by railroad magnate Edward Harriman, the Harriman Alaska Expedition left Seattle in May of 1899, and returned at the end of July. Curtis made around 5000 photographs during the trip, including photographs of the indigenous peoples they met as well as views of mountains, glaciers, and other natural features. Many of the photographs appeared in the expedition's 14 published volumes of their findings.

In 1900, Curtis accompanied Grinnell to Montana for a Blackfoot Sundance. Here, Curtis made numerous photographs and became interested in the idea of a larger project to document the Native peoples of North America. Almost immediately upon returning from the Sundance, Curtis set off for the Southwest to photograph Puebloan communities. By 1904, Curtis had already held at least one exhibit of his "Indian pictures" and his project to "form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their primitive customs and traditions" (General Introduction, the NAI) had taken shape and already received some press coverage. With his fieldwork now increasing his absences from home, Curtis hired Adolph Muhr, former assistant to Omaha photographer Frank Rinehart, to help manage the Seattle studio.

In 1904, Curtis was a winner in the Ladies Home Journal "Prettiest Children In America" portrait contest. His photograph of Marie Fischer was selected as one of 112 that would be published and Fischer was one of 12 children selected from the photographs who would have their portrait painted by Walter Russell. Russell and Curtis made an acquaintance while Russell was in Seattle to paint Fischer's portrait, and not long afterwards, Russell contacted Curtis to make photographic studies of Theodore Roosevelt's children for portraits he would paint. Curtis subsequently photographed the entire Roosevelt family, and developed a social connection with the President. Several important outcomes came of this new friendship, including Roosevelt eventually writing the foreword to the NAI, as well as making introductions to influential people.

Key among these introductions was one to wealthy financier John Pierpont Morgan, in 1906. After a brief meeting with Curtis during which he viewed several of Curtis's photographs of Native Americans, Morgan agreed to finance the fieldwork for the NAI project for five years, at $15,000.00 per year. It was up to Curtis to cover publishing and promotion costs, with the publication being sold as a subscription. In return, Morgan would receive 25 sets of the 20-volume publication. The ambitious publication plan outlined 20 volumes of ethnological text, each to be illustrated with 75 photogravure prints made from acid-etched copper plates. Each volume would be accompanied by a companion portfolio of 35 large photogravures. With high-quality papers and fine binding, a set would cost $3000.00. 500 sets were planned. Under Morgan, the North American Indian, Inc. formed as body to administer the monies. Also around this time, Frederick Webb Hodge, Director of the Smithsonian Institution's Bureau of American Ethnology, agreed to edit the publications.

Curtis then began more systematic fieldwork, accompanied by a team of research assistants and Native interpreters. In 1906, Curtis hired William E. Myers, a former journalist, as a field assistant and stenographer. Over the years, Myers became the lead researcher on the project, making enormous contributions in collecting data and possibly doing the bulk of the writing for the first 18 volumes. Upon meeting a new community, Curtis and his team would work on gathering data dealing with all aspects of the community's life, including language, social and political organization, religion, food ways, measures and values, and many other topics. (See box 2 folder 1 in this collection for Curtis's list of topics.) Curtis and his assistants, especially Myers, brought books and papers to the field relating to the tribes they were currently concerned with, and often wrote from the field to anthropologists at the Bureau of American Ethnology and other institutions for information or publications. In addition to fieldnotes and photographs, the team also employed sound recording equipment, making thousands of recordings on wax cylinders. Curtis also often brought a motion picture camera, although few of his films have survived.

The first volume of the NAI was published towards the end of 1907. Already, Curtis was encountering difficulty in finding subscribers to the publication despite great praise in the press and among those who could afford the volumes. Curtis spent progressively more of his time outside the field season promoting the project through lectures and in 1911, presenting his "Picture Musicale"—a lecture illustrated with lantern slides and accompanied by an original musical score—in major cities. After the initial five funded years, only eight of the twenty volumes had been completed. However, Morgan agreed to continue support for the fieldwork and publication continued.

Starting in 1910, Curtis and his team worked among the Kwakwaka'wakw First Nation on Vancouver Island, and in 1913 began to develop a documentary film project featuring the community in Alert Bay. In 1914, Curtis produced the feature-length film, In the Land of the Headhunters. The film showcased an all-indigenous cast and included an original musical score. Screened in New York and Seattle, it received high praise. However after this initial success, it did not receive the attention Curtis had hoped for, and resulted in financial loss.

Meanwhile, Curtis's prolonged absences from home had taken a toll on his marriage and in 1919 Clara and Edward divorced. The Seattle studio was awarded to Clara, and Curtis moved to Los Angeles, opening a photography studio with his daughter Beth and her husband Manford "Mag" Magnuson. Daughters Florence and Katherine came to Los Angeles sometime later. Curtis continued with fieldwork and promotion of the project, and in 1922 volume 12 of the NAI was published. Also in 1922, Curtis was accompanied during the field season in California by his daughter Florence Curtis Graybill, the first time a family member had gone to the field with him since the Curtis children were very small.

Curtis continued to push the project and publications along, yet never without financial struggle and he picked up work in Hollywood as both a still and motion picture photographer. John Pierpont Morgan, Jr., continued to provide funding for the fieldwork in memory of his father, but with the various financial upsets of the 1910s and 1920s, Curtis had a difficult time getting subscribers on board. In 1926, Myers, feeling the strain, regretfully resigned after the completion of volume 18. Anthropologist Frank Speck recommended Stewart Eastwood, a recent graduate from the University of Pennsylvania, to replace Myers as ethnologist for the final two volumes.

In 1927, Curtis and his team, along with his daughter Beth Curtis Magnuson, headed north from Seattle to Alaska and Canada on a final field season. Harsh weather and a hip injury made the trip difficult for Curtis, but he was very satisfied with the season's work. The party returned to Seattle, and upon arrival Curtis was arrested for unpaid alimony. He returned exhausted to Los Angeles, and in 1930 the final two volumes of NAI were published without fanfare. Curtis spent the next two years recovering from physical and mental exhaustion. Beth and Mag continued to run the Curtis studio in LA, but for the most part, Curtis had set down his camera for good. With the NAI behind him and his health recovered, Curtis pursued various interests and employment; he continued to do some work in Hollywood, including working on The Plainsman, starring Gary Cooper.

In 1933 Curtis was publicly criticized by John Collier, the Commissioner for Indian Affairs for some of the statements he had made on certain Pueblo ceremonies in the NAI volume 16, published in 1924. In September of 1934 Curtis received a letter from Harold Ickes, Secretary of the Interior regarding the claims published in volume 16, demanding a printed apology to be distributed among the text of the book as well as removal of the offending text from any undistributed copies of the publication. Curtis spent months writing and compiling supporting documentation in his defense, which he submitted to Ickes in January 1935. Also in 1935, the Morgan estate liquidated the North American Indian, Inc. and sold the remaining sets of the NAI volumes and unbound pages, photogravures, and copper printing plates along with the rights to the material to Boston bookseller Charles Lauriat for $1000.00.

Curtis's interest in gold prospecting took a front seat in the mid-1930s. While he scouted for potentially profitable mines in Northern California, his friend Ted Shell and possibly his son Harold sought investors. However, nothing ever fully panned out, though Curtis did design and build a concentrator for separating fine gold from placer tailings. He later sold the patent for ten dollars. Eventually, Curtis settled down on a farm outside Los Angeles, moving later to live with Beth and Mag, where he stayed until his death. In the mid to late 1940s Curtis began to write his memoirs. His daughter Florence visited him regularly and typed as Curtis dictated his recollections, and at some point he completed a draft of a memoir titled "As it Was." He also went through his papers and annotated or tucked notes among the correspondence and other material giving a brief explanation of the item or its context. Curtis died at home in 1952.

Prior to his death, Curtis had been out of the public eye for some years, and the NAI had slipped into relative obscurity. The Curtis studio in Los Angeles continued to sell Curtis's Native American photographs, and Florence gave occasional talks on her father, but it wasn't until the early 1970s that Curtis's work saw a renewed interest. This renaissance took place largely in the art photography market, but Curtis's biography and the NAI were also getting treatment in publications. Florence Curtis Graybill partnered with Victor Boesen to produce two narrative histories of Curtis and his work, and these were followed by many others. Florence continued to publish short works on her father for many years, and stayed in touch with numerous people involved in projects both scholarly and commercial that related to Curtis's work.

Sources Cited

Davis, Barbara. Edward S. Curtis: the life and times of a shadowcatcher. San Francisco: Chronicle Books, 1984.

Gidley, Mick. The North American Indian, Incorporated. New York: Cambridge University Press, 1998.

Chronology

1868 -- Curtis is born in Whitewater, Wisconsin

circa 1874 -- Curtis family moves to Cordova, Minnesota

1887 -- Moves with his father to Washington territory to be joined by his mother and siblings in 1888

1891 -- With Rasmus Rothi forms Rothi & Curtis photography studio in Seattle

1892 -- Marries Clara Phillips With Thomas Guptill forms Curtis & Guptill Photographers and Photoengravers in Seattle

circa 1895 -- Becomes interested in photographing the indigenous people of the area

1897 -- Guptill leaves, Curtis establishes himself as Edward S. Curtis, Photographer and Photoengraver

1898 -- Meets C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot during climb on Mount Rainier Receives first place award from the National Photographic Convention in the "Genre Studies" for his photographs of Native Americans

1899 -- Joins Harriman Alaska Expedition as official photographer at request of C. Hart Merriam and George Bird Grinnell

1900 -- Accompanies George Bird Grinnell to Blackfoot reservation in Montana for Sundance Becomes interested in a major project to document Native American tribes Travels to Arizona to photograph Hopi communities

circa 1902 -- Travels again to the southwest to photograph Native communities

1903 -- Holds first formal exhibit of Native American photographs in his studio

1904 -- Publicly announces intention to produce major publication on Native Americans Portrait entered in the Ladies Home Journal "Prettiest Children in America" contest is selected for publication and as a result, Curtis is asked to photograph President Theodore Roosevelt's family

circa 1904-1906 -- Conducts fieldwork among Native communities of the southwest

1906 -- Meets with J. P. Morgan, who agrees to finance the fieldwork for Curtis's project Hires William E. Myers as researcher and writer for the project

1907 -- Volume 1 of NAI is published

1908 -- Volumes 2 and 3 of NAI are published

1909 -- Volumes 4 and 5 of NAI are published

1911 -- Volumes 6, 7, and 8 of NAI are published Presents and tours the "Picture Musicale"

1913 -- J. P. Morgan dies, but his son agrees to continue to provide support for NAI Volume 9 of NAI is published

1914 -- Releases film In the Land of the Headhunters

1915 -- Volume 10 of NAI is published

1916 -- Volume 11 of NAI is published

1919 -- Edward and Clara Curtis divorce and the Seattle studio is awarded to Clara Moves to Los Angeles and opens new studio with daughter Beth and her husband, Manford Magnuson

1922 -- Volume 12 of NAI is published Conducts fieldwork in California with daughter Florence Curtis Graybill

1924 -- Volumes 13 and 14 of NAI are published

1926 -- Volumes 15, 16, and 17 of NAI are published William E. Myers resigns as chief writer and ethnologist of NAI

1927 -- Conducts fieldwork in Alaska and Canada for final NAI volume with daughter Beth Curtis Magnuson

1928 -- Volume 18 of NAI is published

1930 -- Volumes 19 and 20 of NAI are published

circa 1930-1950 -- Applies himself to various interests, especially gold mining

1952 -- Dies in Los Angeles at the home of Beth and Manford Magnuson
Related Materials:
The National Anthropological Archives holds additional Curtis papers and photographs in MS 2000-18, the Edward Curtis investigation of the battle of Little Bighorn and Photo Lot 59, the Library of Congress copyright prints collection.

The Archives of Traditional Music at Indiana University holds Curtis's wax cylinder audio recordings from 1907-1913.

The Braun Research Library at the Autry Museum of the American West holds the Frederick Webb Hodge papers (1888-1931), which contain substantial correspondence from Curtis. The Braun also holds a small amount of Curtis papers and photographs, including some of Curtis's cyanotypes.

The Getty Research Institute holds the Edward S. Curtis papers (1900-1978), which include the original manuscript scores for the Curtis Picture Musicale and film In the Land of the Headhunters.

The Palace of the Governors at the New Mexico History Museum holds original Curtis negatives pertaining to the southwest.

The Pierpont Morgan Library holds the Edward S. Curtis papers (1906-1947), which contain the records of the North American Indian, Inc., as well as Curtis's correspondence to librarian, and later library director, Belle Da Costa Greene. The library also holds a large collection of Curtis's lantern slides, used in his Picture Musicale.

The Seattle Public Library holds correspondence of Curtis to Librarian Harriet Leitch (1948-1951), pertaining to his career.

The Seaver Center for Western History Research at the Los Angeles County Museum of Natural History holds collection GC 1143, which contains Curtis's field notes as well as manuscript drafts for the North American Indian.

The Smithsonian's National Museum of the American Indian holds NMAI.AC.080, the Edward S. Curtis photogravure plates and proofs, as well as NMAI.AC.053, the Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.

The University of Washington Libraries Special Collections holds the Edward S. Curtis papers (1893-1983). Additionally, the Burke Museum holds papers and photographs of Edmund Schwinke, which relate to Curtis's work with the Kwakwaka'wakw community.
Separated Materials:
Artifacts collected by Curtis that were a part of this donation comprise Accession No. 2058745 in the collections of the Department of Anthropology in the National Museum of Natural History.
Provenance:
The papers and photographs were donated to the National Anthropological Archives by Jim Graybill, grandson of Edward S. Curtis, in 2010 and 2011.
Restrictions:
Viewing of the photographic negatives and transparencies requires advance notice and the permission of the Photo Archivist.

Access to the Edward S. Curtis papers and photographs requires an appointment.
Rights:
Contact the repository for terms of use.
Identifier:
NAA.2010-28
See more items in:
Edward S. Curtis papers and photographs
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-2010-28
Additional Online Media:

2010 Exploring Space Lecture: Where the Hot Stuff Is: Volcanoes of the Earth and Solar System

Creator:
National Air and Space Museum  Search this
Type:
Youtube videos
Uploaded:
2010-06-15T17:13:08.000Z
Topic:
Aeronautics;Flight;Space Sciences  Search this
Youtube Category:
Education  Search this
See more by:
airandspace
YouTube Channel:
airandspace
Data Source:
National Air and Space Museum
EDAN-URL:
edanmdm:yt_MdOhmmpJfiY

Americana

Artist:
Ralph Fabri, American, b. Hungary, 1894–1975  Search this
Medium:
Etching on laid paper
Type:
architecture
Print
Object Name:
Print
Made in:
USA
Date:
1948
Credit Line:
Gift of William J. Donald
Accession Number:
1953-102-32
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1953-102-32

Illustrations of Her Majesty's Palace at Brighton: formerly the Pavilion: executed by the command of King George the Fourth under the superintendence of John Nash... To which is prefixed a history of the Palace, by Edward Wedlake Brayley...

Interior Designer:
John Nash, 1752 – 1835  Search this
Engraver:
T. Sutherland  Search this
Frederic Lewis  Search this
Robert Havel Jr  Search this
M. Dubourg  Search this
Printer:
J. B. Nichols and Son, England  Search this
Medium:
Letterpress, etching and aquatint, on cream wove paper; brush and watercolor on white wove paper mounted on heavy tan board, lines ruled in color and gold paint
Type:
architecture
Book
Object Name:
Book
Made in:
London, England
Date:
1838
Credit Line:
Museum purchase through gift of the Council
Accession Number:
1951-128-1
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1951-128-1

Title Page, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Print Maker:
Jean-Jacques Avril the Elder, French, 1744 - 1831  Search this
Medium:
Engraving and etching on laid paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1773
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-287
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-287

Women Looking in Mirror, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Print Maker:
Jean-Jacques Avril the Elder, French, 1744 - 1831  Search this
Medium:
Etching and engraving on laid paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1773
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-288
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-288

Figures with a Squash, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Medium:
Etching on paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1728-1808
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-289
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-289

Figures with a Vase of Flowers, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Medium:
Etching on paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1728-1808
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-290
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-290

Figure Playing Bells, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Medium:
Etching on paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1728-1808
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-291
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-291

A Family, from "Nouveau Cahier de Six Feuilles De Différents Sujets Chinois Historiés"

Designer:
Jean-Baptiste Pillement, French, 1728–1808  Search this
Medium:
Etching on paper
Object Name:
Print
Type:
Print
Made in:
France
Date:
1728-1808
Credit Line:
Gift of Eleanor and Sarah Hewitt
Accession Number:
1920-36-292
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1920-36-292

Designs for the Border of the Biblical Chronology for the King , 2nd Plate, pl. 36 in Oeuvre de Juste-Aurèle Meissonnier

Designer:
Juste-Aurèle Meissonnier, French, b. Italy, 1695–1750  Search this
Publisher:
Gabriel Huquier, French, 1695–1772  Search this
Etcher:
Gabriel Huquier, French, 1695–1772  Search this
Medium:
Etching on off-white laid paper
Type:
ornament
Print
Object Name:
Print
Made in:
Paris, France
Date:
1748
Credit Line:
Purchased for the Museum by the Advisory Council
Accession Number:
1921-6-212-12
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:chndm_1921-6-212-12
Additional Online Media:

Division of Physical Anthropology collection of photographs of physical anthropologists

Collector:
National Museum of Natural History (U.S.). Division of Physical Anthropology  Search this
Photographer:
Armed Forces Institute of Pathology (U.S.)  Search this
Gibson Art Galleries  Search this
Harris & Ewing  Search this
Underwood & Underwood  Search this
Farrar, Richard  Search this
Prokopec, Miroslav  Search this
Rau, William Herman, 1855-1920  Search this
Names:
Harper & Brothers, printers  Search this
Allen, Harrison, 1841-1897  Search this
Angel, J. Lawrence (John Lawrence)  Search this
Baer, Karl Ernst von, 1792-1876  Search this
Barbour, Erwin Hinckley, 1856-1947 (possible photographer)  Search this
Bertillon, Alphonse, 1853-1914  Search this
Brinton, Daniel G. (Daniel Garrison), 1837-1899  Search this
Broca, Paul, 1824-1880  Search this
Cobb, W. Montague (William Montague), 1904-1990  Search this
Corrêa, A. A. Mendes (Antonio Augusto Mendes), 1888-1960  Search this
Dubois, Eugène, 1858-1940  Search this
Eliot, Charles William, 1834-1926  Search this
Farabee, William Curtis, 1865-1925  Search this
Ford, James Alfred, 1911-1968  Search this
Giuffrida-Ruggeri, V. (Vincenzo), 1872-1922  Search this
Goldstein, Marcus S. (Marcus Solomon), 1906-  Search this
Gorjanović-Kramberger, Dragutin, 1856-1936  Search this
Haddon, Alfred C. (Alfred Cort), 1855-1940  Search this
Harvey, William, 1578-1657  Search this
Hooton, Earnest Albert, 1887-1954  Search this
Hough, Walter, 1859-1935  Search this
Hrdlička, Aleš, 1869-1943  Search this
Leakey, L. S. B. (Louis Seymour Bazett), 1903-1972  Search this
León, Nicolás, 1859-1929  Search this
Lillie, Frank Rattray, 1870-1947  Search this
Manouvrier, L. (Léonce), 1850-1927  Search this
Meigs, James Aitken, 1829-1879  Search this
Morton, Samuel George, 1799-1851  Search this
Newman, Marshall T. (Marshall Thornton), 1911-1994  Search this
Ortner, Donald J.  Search this
Osborn, Henry Fairfield, 1857-1935  Search this
Purkyně, Jan Evangelista, 1787-1869  Search this
Retzius, A. (Anders), 1796-1860  Search this
Retzius, Gustaf, 1842-1919  Search this
Schultz, Adolph H. (Adolph Hans), 1891-  Search this
Schwalbe, Gustav Albert, 1844-1916  Search this
Sergi, Giuseppe, 1841-1936  Search this
Sims, J. Marion (James Marion), 1813-1883  Search this
St. Hoyme, Lucile Eleanor  Search this
Stewart, T. D. (Thomas Dale), 1901-1997  Search this
Todd, T. Wingate (Thomas Wingate), 1885-1938  Search this
Virchow, Rudolf, 1821-1902  Search this
Wyman, Jeffries, 1814-1874  Search this
Extent:
1 Print (engraving)
2 Prints (chalk manner lithograph)
3 Prints (etching)
23 photomechanical prints (halftone, photogravure, and collotype)
152 Photographic prints (silver gelatin and albumen)
8 copy prints
6 copy negatives
1 Print (offset lithography)
1 Print (probably chromolithograph)
11 Negatives (acetate)
3 Drawings
Type:
Collection descriptions
Archival materials
Prints
Photomechanical prints
Photographic prints
Copy prints
Copy negatives
Negatives
Drawings
Photographs
Date:
undated
Scope and Contents note:
Photographs relating to physical anthropologists from around the 19th and 20th centuries in Europe and the United States. Many of the photographs depict Smithsonian staff, particularly Ales Hrdlicka and T. Dale Stewart, as well as people and artifacts relating to physical anthropology throughout history. Some of the portraits are signed and the collection also includes pamphlets from professional societies, prints mounted for publication, a copy of the Baltimore Sunday Sun relating to Adolph Schultz, and some correspondence.
Local Call Number(s):
NAA Photo Lot 4822
Location of Other Archival Materials:
The National Anthropological Archives holds the Ales Hrdlicka papers, Thomas Dale Stewart papers, and John Lawrence Angel papers.
Additional photographs collected by the Division of Physical Anthropology held in National Anthropological Archives Photo Lot 8 and Photo Lot 83-41.
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
See others in:
Division of Physical Anthropology collection of photographs of physical anthropologists, undated
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Physical anthropologists  Search this
Genre/Form:
Photographs
Citation:
Photo Lot 4822, Division of Physical Anthropology collection of photographs of physical anthropologists, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.4822
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-4822

Portrait of Clement Penrose

Person depicted on print:
Penrose, Clement  Search this
Graphic artist:
Bicknell, W. H. W.  Search this
Publisher:
W. J. Campbell Philadelphia  Search this
Measurements:
overall: 62.3 cm x 46.1 cm; 24 1/2 in x 18 1/8 in
Object Name:
Print
print
etching
Object Type:
Etching
Place made:
United States: Pennsylvania, Philadelphia
Date made:
1908
Subject:
Portraits  Search this
ID Number:
2004.0184.01
See more items in:
Work and Industry: Graphic Arts
Communications
Art
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_1280552

The Battle between Crib and Molineaux

Created by:
Unidentified  Search this
Published by:
Walker and Knight, British  Search this
Subject of:
Tom Molineaux, American, 1784 - 1818  Search this
Tom Cribb, English, 1781 - 1848  Search this
Bill Richmond, American, 1763 - 1829  Search this
Medium:
ink and watercolor on wove rag paper with wood and glass frame
Dimensions:
Frame: 14 3/4 × 18 1/2 × 1 in. (37.5 × 47 × 2.5 cm)
H x W (Visible print): 9 5/8 × 13 3/8 in. (24.4 × 34 cm)
Type:
prints
Place depicted:
Rutland, East Midlands, England, Europe
Date:
October 3, 1811
Topic:
African American  Search this
Athletes  Search this
Boxing  Search this
Emancipation  Search this
Free communities of color  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2014.89.6.2
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Visual Arts
Slavery and Freedom Objects
Exhibition:
Sports: Leveling the Playing Field
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 052
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:nmaahc_2014.89.6.2
Additional Online Media:

Le Grand Jeu de L'oie Renouvelé des Grecs, Jeu Plaisant et Très-Récréatif. Historie et Règle du Jeu.

Medium:
Print, Etching on Paper, Colored
Dimensions:
2-D - Unframed (H x W): 50.8 × 68.6cm (20 × 27 in.)
Type:
ART-Prints, Original
Country of Origin:
France
Credit Line:
Gift of the Norfolk Charitable Trust
Inventory Number:
A20140884000
Restrictions & Rights:
Do not reproduce without permission from the Smithsonian Institution, National Air and Space Museum
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
EDAN-URL:
edanmdm:nasm_A20140884000
Additional Online Media:

La quatorzieme experience aerostatique de M. Blanchard

Artist:
Louis Joseph Watteau  Search this
Medium:
Print, Engraving on Paper, Hand Colored
Dimensions:
2-D - In Frame (H x W x D): 62.9 x 78.1cm (24 3/4 x 30 3/4 in.)
2-D - Unframed (H x W): 34.9 x 45.4cm (13 3/4 x 17 7/8 in.)
Type:
ART-Prints, Original
Country of Origin:
France
Inventory Number:
A19680138001
Restrictions & Rights:
Do not reproduce without permission from the Smithsonian Institution, National Air and Space Museum
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
EDAN-URL:
edanmdm:nasm_A19680138001
Additional Online Media:

Moon Machine

Artist:
Bernard Brussel-Smith  Search this
Medium:
Print, Wood Engraving on Paper
Dimensions:
2-D - Unframed (H x W): 43.3 × 31.7cm (1 ft. 5 1/16 in. × 1 ft. 1/2 in.)
Type:
ART-Prints, Original
Country of Origin:
United States of America
Credit Line:
Donated by Bernard Brussel-Smith
Inventory Number:
A19690354050
Restrictions & Rights:
Do not reproduce without permission from the Smithsonian Institution, National Air and Space Museum
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
EDAN-URL:
edanmdm:nasm_A19690354050

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