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Additional Artworks

From John & Geraldine Lilley Museum of Art

  1. In and/or On Series by RC Wonderly, Image 2.

    RC Wonderly

    In and/or On Series, 2011-2013

    Graphite

    48 x 48 in

  2. Idlewild Park by Hildegard Herz, Image 2.

    Hildegard Herz

    Idlewild Park, n. d.

    Watercolor

    11.25 x 14.75 in

  3. Alan Horton Crane

    Home Coming, n. d.

    Lithograph

    12.5625 x 9.6875 in

  4. Hot Spice Gingerbread, smoking hot! by D'apres Vendramini, Image 2.

    D'apres Vendramini

    Hot Spice Gingerbread, smoking hot!, n. d.

    Etching

  5. Imari Shire (Fox - God) and Spa-Imari is the God of Rice and Business by Kiyonaga, Image 2.

    Kiyonaga

    Imari Shire (Fox - God) and Spa-Imari is the God of Rice and Business, n. d.

    Woodcut

    10.125 x 7 in

  6. India by Willis H. Church, Image 1.

    Willis H. Church

    India, n. d.

    Watercolor

    7 x 10.75 in

  7. Hoop on the Forehead - Apsaroke by Edward Sheriff Curtis, Image 2.

    Edward Sheriff Curtis

    Hoop on the Forehead - Apsaroke

    Photogravure

  8. Invocation - Sioux by Edward Sheriff Curtis, Image 2.

    Edward Sheriff Curtis

    Invocation - Sioux

    Photogravure

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About the artist

Edward Sheriff Curtis

American

1868-1952

Born in 1868 near Whitewater, Wisconsin, Edward Sheriff Curtis became one of America’s finest photographers and ethnologists. The Curtis family moved to Port Orchard, Washington in 1887. When Curtis was 24, he started working as a studio portrait photographer in Seattle. He also experimented with landscape and mountaineering photographs on extended trips to Washington, Oregon, and Alaska. By 1895, Curtis began photographing Native Americans. He took many pictures of the Alaskan/Yukon Gold Rush of 1897 and was the official expedition photographer on E.H. Harriman’s Alaskan expedition of 1899. It was on this very expedition that Curtis discovered his passion for documenting Native peoples’ ways of life.

Edward S. Curtis devoted the next 30 years photographing and documenting over eighty, tribes west of the Mississippi, from the Mexican border to northern Alaska. His project won support from such prominent and powerful figures as President Theodore Roosevelt and J. Pierpont Morgan. In 1930, he published The North American Indian, consisted of 20 volumes, each containing 75 hand-pressed photogravures and approximately 300 pages of text. Each volume was accompanied by a corresponding portfolio containing at least 36 photogravures.
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