Seven of Curtis’ most iconic images
printed in a historic platinum printing process.
Each numbered platinum print is accompanied by a certificate of authenticity.
Prints will be shipped within two weeks of ordering
Order yours online or call 612.212.7044 for additional information.
Master photographer Edward Curtis (1868-1952) dedicated his life to the documentation and portraiture of surviving North American Indian tribes. His contribution is by far the most substantial of its kind in the realm of art, ethnography and the history of the American West.
After several years of intensive research and development, Cardozo Fine Art is now offering a select group of prints made from Curtis’ original negatives, using the historic platinum/palladium process. Faithful to the photographer’s artistic vision and intent, these limited-edition photographs are printed on handcrafted archival paper. Their beauty and luminosity echo Curtis’ powerful message for current and future generations. Read More About The Process Here.
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A Son of the Desert – Navaho, 1904
Native Nations, page 95
This is widely regarded as one of Curtis’ most compelling, evocative, and sought-after portraits. Curtis’ portraits of children are relatively rare, a fact which makes this portrait even more desirable. This image was made in 1904 at the height of Curtis’ most important and prolific period.
Girl and Jar (Sunflower) – San Ildefonso, 1905
Native Nations, page 47
The women of the Pueblo tribe are known for their outstanding ability to balance various vessels on their heads for transport purposes. In this photograph, a Pueblo woman carries a large container on her head; this is made effortless by a fiber ring that rests between the jar and her head to protect her scalp and help to steady it.
The design shown on the jar illustrates the importance of the serpent cult in Tewa life.
The Three Chiefs – Piegan, 1900
Native Nations, page 33
Is, arguably, historically the single most important of Curtis’ 40-50,000 photographic images. The photograph was made in the summer of 1900 and is the key image from that critical, watershed experience in Curtis’ life. It was during this short field trip to Montana with noted ethnographer George Bird Grinnell that Curtis first encountered Native Americans whose culture was still largely intact and who were also willing to share their religion, mythology, and personal lives with him. This brief experience ignited Cutis’ passion for preserving a comprehensive record of Native American life. This two-week experience inalterably changed Curtis and his life was never the same again. It is said that in making this image of three tribal leaders in their traditional garb on a typical upland prairie that Curtis spent three days looking for the perfect combination of riders, sky, and prairie.
The Rush Gatherer – Kutenai, 1910
Volume 7, Plate #255
This photograph was taken on Flathead Lake in Northern Montana and the Native American pictured is from the Kutenai tribe. The Kutenai were semi-nomadic and occupied portions of southeastern British Columbia, northern Idaho, and northwestern Montana, moving seasonally to follow food sources. The Kutenai usually crafted their canoes of pine bark, but as illustrated here, occasionally made canoes of fresh elk hides stretched over a framework of fir strips. Rushes gathered in swamps and lakes were dried and strung together into mats, lodge coverings, mattresses, and other utilitarian items.
Canyon De Chelly – Navaho, 1904
Volume I, page 73
Canyon de Chelly (pronounced “chay”, after the Navaho “Ta Sh_”) was one of the most sacred places for the Navaho and remains so to this day. It is located in Northeastern Arizona in the heart of Navaho country. Of Curtis’ 50,000 negatives this is considered to be one of his ten most important and powerful. The insignificance of man relative to nature is clearly illustrated through the sheer size (approximately 1,000 feet high) of enduring cliff formations that surround the riders. Canyon de Chelly is regarded as Curtis’ single most popular goldtone today and the contemporary Goldtone captures the subtleties and richness of the original negative in a way that was impossible a hundred years ago.
An Oasis in the Badlands – Sioux, 1905
Volume 3, Plate 80
This classic Curtis image was made in the heart of the Bad Lands of South Dakota. The subject is the sub-chief Red Hawk who was born 1854 and participated in his first war party 1865 with Crazy Horse against U.S. army troops. He was a fierce warrior and ultimately engaged in 20 battles, including the Custer fight in 1876. This lyrical image is widely considered to be Curtis’ most important and beautiful Great Plains peopled landscape. Curtis loved the visual and metaphorical qualities of water, and the goldtone, more than any other photographic medium, conveys the beauty of water as an aesthetic element. The compelling composition and subject matter have helped keep this, one of Curtis’ most sought after images compelling nearly one hundred years after it was made.
Vash Gon – Jicarilla, 1904
Native Nations, page 76
This has been one of Curtis’ most sought-after and celebrated portraits since he created it over one hundred years ago. Curtis often incorporated aesthetics from the Pictorialist movement into his photographs and this portrait is a prime example. The narrowed format, the softened focus, strong and dramatic lighting, and simplified composition all enhance this classic and enduring photograph. This was obviously one of Curtis’ favorite portraits as he exhibited it widely, used it to illustrate articles, and printed it in at least four different photographic processes. Today it remains highly sought-after and desirable.