A portrait of a Native American girl in regalia posing next to a horse. The girl is wearing a dress with abstract patterning on its surface, and fringes at its edges. Around her forehead she wears a beaded headband with an attached feather. She wears earrings and has beaded accessories in her braided hair. She holds a rope that is attached to a horse standing behind her. The horse is draped with decorative beaded bags, and material with long fringes. One bag displays a stag with leaves and the other designs appear to be abstract patterns. Tipis, horses, and a wooden fence are visible in the distance.
A Native American man identified as an indian chief stands next to an airplane identified as a B-17. The man is dressed in regalia consisting of a feather headdress, buckskin shirt and pants with fringes, beaded floral motif moccasins, and a breechcloth with an abstract pattern on its surface. Visible behind the man is a partial view of an airplane including its propellers, and wheel.
An outdoor portrait of a man, identified as John War Eagle, dressed in Native American regalia. Three large feathers extend out from his hair. He is wearing shell necklaces, bone breastplate, and long sleeve buckskin shirt with fringes and beadwork. His hair is contained in two braids with fur hair wraps. The strap of a bag or pouch hangs diagonally across his chest. Visible in the background are trees, ladder, vehicle, and photographic lighting equipment. John War Eagle was an actor. There are similar pictures that are in the envelope written "sioux uprising". This is most likely a picture taken on the set of a movie.
A man dressed in a feather headdress peers out of an entrance of a tipi at the RoundUp. The front section of the headdress contains beads that form an abstract pattern. He is dressed in a a long sleeve button-up shirt with collar and necktie. The tipi's exterior is striped. The flap of material covering the entryway of the tipi is rolled up and hangs above the entrance. A wooden stick is seen protruding from the coiled material. Hay is visible on the ground in front of the tipi's entrance. In the background are partially visible tipis.
A man dressed in Native American regalia poses on horseback. On his head is a large feather headdress. His long, dark hair is contained in two braids. He wears a shirt and pants with fringes, which may be made from buckskin. The man sits on two blankets that are draped over the horse's back. One blanket has geometric patterns on its surface, the other a horizontal stripe. Seen in the distance are multiple tipis, and two men with horses.
A man identified as Alex Shippentower poses for the camera at the RoundUp. He is dressed in a cowboy hat that is secured to his head with two strip of material tied under his chin, handkerchief, and long sleeved button-up shirt. His hair is secured in braids. In his left hand he holds an unidentified object. He stands in the middle of a dirt road with out of focus automobiles in the background.
A smiling woman in Native American attire holds a sleeping baby that is secured in a cradleboard. The woman wears a dress with abstract patterning on its surface and fringes at its edges. Around her forehead she wears a beaded headband with an attached feather. She wears round earrings and has beaded accessories in her braided hair. Partially visible in the background of the image is an individual, horse, and tipi.
A black-and-white photograph. The inscription in white ink at the bottom says 'Maj. Moorhouse and Wards' Umatilla Reservation. The number 5054 is written in the bottom left corner of the photo. Major Lee Moorhouse and two Native American children are seen in front of a tule-mat-and-canvas tipi. A wooden ladder leans against the right side of the tipi, along with some wooden poles. A striped blanket has been placed on the ground in front of the tipi, partly propped up by some unseen object, and two small children are on the blanket. The girl, who wears a scarf tied over her head, is sitting on the left side. She seems to be wearing a cloth shawl over a cloth dress. Standing to the right of her, next to Maj. Moorhouse, is a young boy, who appears to be wearing overalls topped with a dark cloth jacket missing all but the top button. His shoulder-length hair is cut in bangs. He wears European-style shoes or boots. Next to him squats the major in profile to the camera. His left hand is closest to the camera, and in it he holds the carcasse or hide of a small furry animal. The major wears a light-colored felt hat, a high-collar white shirt with a gingham patterned cravat, a vest, and striped wool trousers tucked into boots. He wears a buckskin jacket which is fringed at the seams and along the bottom and faced with fur. The front of the open jacket is also decorated with beadwork using floral motifs. Aside from a moustache, the major is clean-shaven. He is looking down towards the little boy. On the blanket in front of the children lies a semi-cylindrical basket with a geometric pattern woven in dark colors on a light background; the basket appears to have straps.
A portrait of a Native American woman rendered in black and white., James Mattingly; dallas oregon; lummi lady; graphics; h-1, Jim Mattingly took his formal education, both undergraduate and graduate levels, at San Jose State University (then College) in San Jose California. Upon leaving graduate school, he took a position at the Alberta College of Art in Calgary, Alberta, Canada. Later in 1968, he took a position at Western Oregon University (then Oregon College of Education) in Monmouth, Oregon. During his years at Western he developed the printmaking program in the art department, was Art Department Head from 1977-1986, was the first studio instructor at Western to be promoted to Full Professor in 1980 and received the campus-wide Faculty Honors Award in 1985. Mattingly enjoyed teaching a great deal. "Much more important than my teaching were my students-the many wonderful people I came to know throughout my teaching career. I am very proud of the many achievements they have since accomplished in their own right." Mattingly retired from WOU in December 1994., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
An historic photogravure print of a Native Ameican man fishing with a long net., Born in 1868 in rural Wisconsin, Edward Sherrif Curtis moved with his family to Southern Minnesota before he reached the age of five. Photography was then a very new technology and an even more nascent art form, and Curtis was fascinated by it from a very early age. By the time he reached his teens he had built his own camera. By his mid-teens, Curtis had spent a great deal of time reading about and experimenting with photographic techniques and ideas. At the age of seventeen, he moved to Saint Paul, where he spent more than a year as an apprentice photographer. In 1887, his father's failing health caused the family to move to the Northwest. This move would later turn out to be a major factor in Curtis' subsequent interest in the American Indian. Thus, although he was large self-taught, Curtis was not only well-versed in the fundamentals of photography, but also was a serious and dedicated practitioner by the time he was twenty years old. During his lifetime, Curtis was widely acknowledged as a skilled portrait photographer, master printmaker, film-maker, lecturer, adventurer and mountaineer. Today, however, Curtis is primarily known as a master photographer and ethnographer of the North American Indian. This is undoubtedly as it should be, for he left us a photographic and ethnographic record unparalleled in the history of publishing. This massively ambitious undertaking entitled "The North American Indian" was the principal vehicle Curtis used to communicate his passionate obsession with recording the image, history, culture and spiritual life of the American Indian. This photo-ethnographic study compresses over two thousand original photographic prints (photogravures) as well as approximately six thousand pages of text. The project ultimately cost Curtis his family, his financial security, and his health. Nevertheless, he single-mindedly pursued his intense and powerful vision with an extraordinary sense of mission and thereby left us with an irreplaceable record which, after decades of obscurity, is once again appreciated as an extraordinary artistic and historical achievement. The fact that Curtis was able to make such an intimate record during the very period when the American Indian's way of life was being destroyed by the White man, makes his accomplishment all the more remarkable. (1987, Christopher Cardozo, Guest Curator for a Curtis exhibition as the Minnesota Museum of Art), http://www.edwardscurtis.com/curtisbio.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html