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Additional Artworks

From John & Geraldine Lilley Museum of Art

  1. Pyramid Silence by Lyle Ball, Image 3.

    Lyle Ball

    Pyramid Silence, n. d.

    Oil

    18 x 36 in

  2. Rushing Creek near Mayberry Bridge by Hildegard Herz, Image 1.

    Hildegard Herz

    Rushing Creek near Mayberry Bridge, n. d.

    Watercolor

    15 x 11.5 in

  3. Reflection of Old Barn by Hildegard Herz, Image 1.

    Hildegard Herz

    Reflection of Old Barn, n. d.

    Watercolor

    15 x 11.375 in

  4. Rearing Horse by Pál Fried, Image 1.

    Pál Fried

    Rearing Horse, n. d.

    Oil

  5. Rue de Lille Ypres by Walter Richards, Image 3.

    Walter Richards

    Rue de Lille Ypres, no date

    Etching

  6. Roman oil lamp by Unknown, Image 1.

    Unknown

    Roman oil lamp, 2nd century AD

    Terracotta

    9.5 in

  7. Ready for the Chrisanthemum Show by Harunobu, Image 2.

    Harunobu

    Ready for the Chrisanthemum Show, n. d.

    Woodcut

    10.625 x 8.875 in

  8. Reflections #4 by Jason Schoener, Image 2.

    Jason Schoener

    Reflections #4, n. d.

    Oil

    23.5 x 13.5 in

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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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