Edward Curtis: Ten of Forty Thousand

Evening on Puget Sound c. 1899. This image, made near the city of Seattle according to Curtis, along with “The Clam Digger” and “The Mussel Gatherer”, in both of which “Princess Angeline”appeared, earned Curtis first prize in the National Photographic Convention of 1899

Puget Sound Baskets c. 1912. Curtis wrote that “Basketry continues to be an important industry of many Puget Sound tribes, the bulk of the product passing into the hands of dealers. Women of the Skokomish band of Twana are especially skilful (sic) in weaving soft, flexible baskets.”

Lummi Woman c. 1899. “The Lummi held considerable territory in the vicinity of Lummi Bay, Washington, as well as many of the San Juan islands.  Early in the eighteenth century the Lummi sought to expand their territority beyond the Nooksack River where the fishing was good,” according to Curtis.

Tsawatenok Girl c. 1914. This lovely young girl was photographed by Curtis in 1914 as he was concentrating his research and photography on the Qagyuhl (now KwaKwaKwa awaK) tribe of Vancouver Island.  Curtis focused Volume X and Portfolio 10 of The North American Indian on the Qagyuhl exclusively.  It was in 1914 also that Curtis made his film “In the Land of the Head Hunters,” (later retitled “In the Land of the War Canoes”)

Kaloqutsuis – Qagyuhl c. 1914. Kaloqutsuis in the winter ceremonies of the Qagyuhl appeared as a huge bird and represented the “curved beak of the upper world.” He was a servant of Pahpaqalanohsi, in whose house he lived.

The Whaler – Makah c. 1915. “The Makah whaler carries a harpoon shaft, which is thrust , not thrown, into the whale.  Inflated skins attached to ropes act as flotation devices when the whale dives during the dangerous hunt.”

Return of the Halibut Fishers c. 1915. “Huge quantities of halibut are taken by the Makah at Cape Flattery, and the flesh is sliced thin and dried for storage,” Curtis wrote.  The busy scene captures men, women, and children of the tribe gathered to transfer halibut from the canoes to strong carrying baskets for the trek to their village.

Lawyer – Nez Perce c. 1905. Curtis describes this portrait of “Lawyer—Nez Perce” as “a member of the family of that Lawyer who played a prominent part in Nez Perce affairs in the years following the treaty of 1855.”

Nez Perce Babe c. 1900. This portrait of a Nez Perce baby wrapped in a cradle largely created by her mother and beaded in the Nez Perce style illustrates the time that mother and child would spend together during the day, the baby on the mother’s back or propped close by as the mother tended to her chores.

On Spokan River c. 1910. This was a picturesque scene of men and women on horseback Curtis photographed near the Spokane River.