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Princeton University Library Collection of Western Americana Photographs

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Held at: Princeton University Library: Manuscripts Division [Contact Us]

This is a finding aid. It is a description of archival material held at the Princeton University Library: Manuscripts Division. Unless otherwise noted, the materials described below are physically available in their reading room, and not digitally available through the web.

Overview and metadata sections

Started in the 1970s, this closed collection includes more than 5,000 photographs consisting mostly of documentary photographs of the Trans-Mississippi West from the late 1860s to early 1900s, largely from the perspective of white photographers and settlers. Subjects include American Indians (especially studio portraits), natural wonders, cities, towns, buildings, and economic activities (mining, railroads, logging, and agriculture). Some photographs relate to the Indigenous populations of Mexico and Central America. The dimensions, physical formats, and photographic processes of the photographs vary widely.

Photographers represented include Charles Milton Bell, John Nicholas Choate, John K. Hillers, Charles Fletcher Lummis, Eadweard Muybridge, Frank A. Rinehart, Bernard Gurney Randall, Carlton E. Watkins, Orloff R. Westmann, Ben Wittick, and many others; as well as photographers whose work was marketed commercially by the Keystone View Company, Underwood & Underwood, and other firms. The collection also includes the work of some contemporary photographers, such as Ulli Steltzer and Kenji Kawano.

For earlier accessions, photographs that are identified with the letter "S" are small prints, many of which are stereographic photographs; those identified with the letters "M" and "L" are mostly albumen prints, and the latter are oversize; photographs with the letter "H" include tintypes, ambrotypes, daguerreotypes, and lantern slides; and photographs marked with "X" include mammoth prints as well as gelatin silver prints.

No additions will be made to this collection. Accessions relating to this topic will be added to the General Manuscripts Miscellaneous Collection (C0140).

Racist, colonialist, and sexist language were used to describe many of the items in this collection. In some cases, descriptions were creator-supplied or generated from transcriptions of captions on the photographs. In other cases, in which photographs lacked any identifying information, descriptions were created by an archivist. These items are identified in the description with the note, "Cataloger supplied title." However, the collection is a candidate for ongoing reparative description work. We hope that researchers will engage in a dialogue with staff about issues in the collection and changes that could help.

Photographs aquired prior to 2015 are arranged by size and format. Photographs acquired after 2015 are arranged in the order in which they were accessioned.

Many of the items in this collection are available in digital format at the Princeton University Digital Library: http://pudl.princeton.edu/collections/pudl0017

This collection was created through various gifts and purchases.

For preservation reasons, original analog and digital media may not be read or played back in the reading room. Users may visually inspect physical media but may not remove it from its enclosure. All analog audiovisual media must be digitized to preservation-quality standards prior to use. Audiovisual digitization requests are processed by an approved third-party vendor. Please note, the transfer time required can be as little as several weeks to as long as several months and there may be financial costs associated with the process. Requests should be directed through the Ask Us Form.

This collection was processed and described by Heather Shannon in 2006. Finding aid created by Faith Charlton in 2014. Finding aid updated periodically with new accessions by Faith Charlton, Kelly Bolding, and Chloe Pfendler.

No additions will be made to this collection. Accessions relating to this topic will be added to the Princeton University Library Single Photograph Acquisitions collection (C1778).

The existence of harmful language was noted in the collection-level description note by Faith Charlton in 2023 as an initial step per reparative description-related work.

Lexy deGraffenreid updated the Conditions Governing Access note in January 2025.

As part of reparative description efforts in 2025 and in alignment with the Protocols for Native American Archival Materials, archivists removed digital images of human remains.

No material was separated during processing.

People
Organization
Subject
Place

Publisher
Manuscripts Division
Finding Aid Author
Faith Charlton; Kelly Bolding; Chloe Pfendler
Finding Aid Date
Published in 2015.
Access Restrictions

While the majority of this collection is open for research, digital images of human remains are restricted. These items have been identified as such throughout the finding aid.

Access to glass-plate negatives is restricted due to their fragility. Where prints of the negatives are present, the prints are open for research use. Though digitization may not be possible for every negative, researchers may make requests to digitize material via the Ask Special Collections, form according to Special Collections' policy on digitization.

Use Restrictions

Single copies may be made for research purposes. To cite or publish quotations that fall within Fair Use, as defined under U. S. Copyright Law, no permission is required. For instances beyond Fair Use, it is the responsibility of the researcher to determine whether any permissions related to copyright, privacy, publicity, or any other rights are necessary for their intended use of the Library's materials, and to obtain all required permissions from any existing rights holders, if they have not already done so. Princeton University Library's Special Collections does not charge any permission or use fees for the publication of images of materials from our collections, nor does it require researchers to obtain its permission for said use. The department does request that its collections be properly cited and images credited. More detailed information can be found on the Copyright, Credit and Citations Guidelines page on our website. If you have any questions, please feel free to contact us through the Ask Us! form.

Collection Inventory

American Indian man wearing traditional clothing with three white children, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder10 x 7 cm.

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Studio portrait of an American Indian girl wearing bead necklaces, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original paper case.

Physical Description

1 folder8 x 7 cm.

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Pope, J. H. (John Henry) (1824-1889). Half length portrait of man wearing suit, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original paper mount with advertisement for photographer on verso.

Physical Description

1 folder9 x 5 cm.

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Pope, J. H. (John Henry) (1824-1889). Full length studio portrait of two men wearing suits, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original paper mount with advertisement for photographer on verso.

Physical Description

1 folder9 x 5 cm.

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Half length portrait of an American Indian man dressed in overalls standing in front of farm house, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original black paper mount.

Physical Description

1 folder7 x 5 cm.

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Full length portrait of an American Indian child dressed in western clothing, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder6 x 4 cm.

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Full length portrait of an American Indian child dressed in western clothing, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder6 x 4 cm.

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Barry, A. L.. Bust studio portrait of woman, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original paper mount with advertisement for photographer on verso.

Physical Description

1 folder9 x 5 cm.

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Bust studio portrait of man, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in original paper mount with advertisement for photographer on verso.

Physical Description

1 folder7 x 4 cm.

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Half length studio portrait of man wearing hat, 1850-1860. 1 folder.
Scope and Contents

Cataloger supplied title. Tintype in half of its original paper case. Image highly damaged.

Physical Description

1 folder8 x 6 cm.

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T.H. McAllister-Keller Co. Cowboys dining on the plains, Colorado, circa 1900. 1 folder.
Scope and Contents

Written on slide: "1073. Colorado. Cowboys dining on the plains."

Physical Description

1 folder9 x 11 cm.

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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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American Indians attacking a stagecoach, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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American Indians lighting fire to a white settler's home, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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American Indians hunting buffalo, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

Materials Viewable Online
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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

Materials Viewable Online
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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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American Indians burning a white man alive, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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Warfare scene between cowboys and American Indians, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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Cowboys lassoing wild horses, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder3 x 11 cm.

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T.H. McAllister (Firm). Utes: Pee Viggi and squaw, circa 1900. 1 folder.
Scope and Contents

Written on slide: "5721. Utes: Pee Viggi and squaw."

Physical Description

1 folder9 x 10 cm.

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Indians at Wild West, circa 1900. 1 folder.
Scope and Contents

Written on slide: "Indians at Wild West."

Physical Description

1 folder9 x 9 cm.

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Full plate tintype portrait of an Osage Indian woman, circa 1885. 1 folder.
Scope and Contents

Photograph originally hung in the lobby of the Endicott Hotel in Newkirk, Oklahoma.

Physical Description

1 folder33 x 26 cm.

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Brigham Young Monument, circa 1910. 1 folder.
Scope and Contents

View of the Brigham Young monument with pedestrians and automobiles in the background. Manuscript notation on the verso reads "5878, Utah, Salt Lake City, Brigham Young Monument." In a mount measuring 8 x 10 cm. Title from caption.

Physical Description

1 folder7 x 7 cm.

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Williams, Brown & Earle. Salt Lake Temple, circa 1910. 1 folder.
Scope and Contents

View of the Salt Lake Temple. Partially eclipsed manuscript notation on the verso reads "6382 ... Temple." In a mount measuring 8 x 10 cm. Title supplied by cataloger; attribution from printed caption.

Physical Description

1 folder7 x 7 cm.

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Underwood & Underwood. Broadway, St. Louis, Missouri, circa 1904. 1 folder.
Scope and Contents

Typescript notation on the recto reads "189 5811 Street scene (Broadway north from Chestnut street), St. Louis, MO." In a mount measuring 8 x 10 cm. Date information derived from similar image at the University of Louisville. Title derived from caption; attribution from printed caption.

Physical Description

1 folder7 x 7.5 cm.

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Underwood & Underwood. Union Street, rent by the great earthquake, San Francisco, California, 1906. 1 folder.
Scope and Contents

Typescript notation on the recto reads "285 8201 Union Street, rent by the great earthquake, San Francisco, Cal." In a mount measuring 8 x 10 cm. Title supplied by cataloger and derived from caption; attribution from printed caption.

Physical Description

1 folder7 x 7.5 cm.

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Underwood & Underwood. City Hall after the earthquake, San Francisco, California, 1906. 1 folder.
Scope and Contents

Typescript notation on the recto reads "2848189 After the earthquake, San Francisco, Cal." In a mount measuring 8 x 10 cm. Title supplied by cataloger and derived from caption; attribution from printed caption.

Physical Description

1 folder7 x 7.5 cm.

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Williams, Brown & Earle. Yosemite Redwood cabin, 1900-1950. 1 folder.
Scope and Contents

View of a redwood cabin, date unknown. Title from manuscript notation on the verso that reads "Yosemite Redwood cabin." Attribution from printed label.

Physical Description

1 folder7 x 7 cm.

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Williams, Brown & Earle. Old Faithful, 1900-1950. 1 folder.
Scope and Contents

View of the Old Faithful geyser, date unknown. Title from manuscript notation on the verso that reads "Old Faithful." Attribution from printed label.

Physical Description

1 folder6 x 7.5 cm.

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Williams, Brown & Earle. Mount Rainer, circa 1920-1929. 1 folder.
Scope and Contents

View of Mount Rainer with houses and tents in the foreground, date information from related slide X0035. Title from manuscript notation on the verso that reads "Mt Rainer." Attribution from printed label.

Physical Description

1 folder7 x 6 cm.

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Williams, Brown & Earle. Excursion on Mount Rainer, circa 1920-1929. 1 folder.
Scope and Contents

View of sled dogs and what appear to be tourists or picnickers on or near Mount Rainer, date information from related slide X0035. Title from manuscript notation on the verso that reads "Rainer." Attribution from printed label.

Physical Description

1 folder6 x 7.5 cm.

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Williams, Brown & Earle. Mount Rainer visitor center, 1925. 1 folder.
Scope and Contents

View of what appear to be tourists at a Mount Rainer visitor center. Title and date information from manuscript notation on the verso that reads "Rainer 1925." Attribution from printed label.

Physical Description

1 folder6 x 7.5 cm.

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Williams, Brown & Earle. Sled dogs on Mount Rainer, 1925. 1 folder.
Scope and Contents

View of sled dogs and what appear to be tourists or picnickers on or near Mount Rainer (similar to H0034), date information from related slide H0035. Title from manuscript notation on the verso that reads "Rainer." Attribution from printed label.

Physical Description

1 folder6 x 7.5 cm.

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Keystone view company. Indians on the Straits of Magellan near Punta Arenas, Chile, circa 1920. 1 folder.
Scope and Contents

Typescript notation on the recto reads "328 (21874) Indians on the Straits of Magellan Near Punta Arenas, Chile." In a mount measuring 8 x 10 cm. Appears to be a reproduction, or a photograph of a photograph. Title and attribution from printed caption, date information from similar image in the National Museum of the Native American.

Physical Description

1 folder7 x 7.5 cm.

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Williams, Brown & Earle. Mt Stephen Tunnel, Summit of the Rockies, circa 1920-1929. 1 folder.
Scope and Contents

A man stands besides the Mount Stephen Tunnel. Title from manuscript notation on the verso that reads "1382 British Columbia Mt Stephen Tunnel, Summit of the Rockies." In a mount measuring 8.4 x 10 cm. Attribution from printed label.

Physical Description

1 folder6 x 7 cm.

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Williams, Brown & Earle. Railroad station Lake Louise, 1925. 1 folder.
Scope and Contents

Passengers wait on the platform of the Lake Louise railroad station. Title from manuscript notation on the verso that reads "R.R. Station Lake Loiuse." In a mount measuring 8.5 x 10 cm. Attribution from printed label, date information from related slide H0041.

Physical Description

1 folder7 x 7.5 cm.

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Williams, Brown & Earle. Great Divide near Lake Louise, 1925. 1 folder.
Scope and Contents

Tourists pose at a monument marking the Great Divide (Continental Divide) with cars from the Canadian Pacific Railroad in the background. Title from manuscript notation on the verso that reads "Great Divide near L. Louise." In a mount measuring 8.5 x 10 cm. Attribution from printed label, date information from related slide H0041.

Physical Description

1 folder5.5 x 7.5 cm.

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Williams, Brown & Earle. Tram Lake Louise To railroad station, 1925. 1 folder.
Scope and Contents

Tourists stand near a tramcar for the Lake Louise Tramway. Title and date from manuscript notation on the verso that reads "Tram Lake Louise To R.R. station 1925." In a mount measuring 8.5 x 10 cm. Attribution from printed label.

Physical Description

1 folder7 x 6 cm.

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Williams, Brown & Earle. Canadian Rockies, circa 1920-1929. 1 folder.
Scope and Contents

A view out a train tunnel. Title from manuscript notation on the verso. In a mount measuring 8 x 10 cm. Attribution from printed label.

Physical Description

1 folder7 x 7.5 cm.

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Keystone view company. Inuit girls in skin clothing, circa 1920-1929. 1 folder.
Scope and Contents

Typescript notation on the recto reads "343 (V13331) Eskimo girls in skin clothing, Cape York, Greenland." In a mount measuring 8 x 10 cm. Appears to be a reproduction, or a photograph of a photograph. Title and attribution from printed caption.

Physical Description

1 folder7 x 7.5 cm.

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Keystone view company. After the flood, Galveston, Texas, circa 1920-1929. 1 folder.
Scope and Contents

Typescript notation on the recto reads "17611215 After the flood, Galveston, Texas." In a mount measuring 8 x 10 cm. Appears to be a reproduction, or a photograph of a photograph. Title and attribution from printed caption.

Physical Description

1 folder7 x 7.5 cm.

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Lummis, Charles Fletcher (1859-1928). Pueblo Girl, 1896. 1 folder.
Scope and Contents

Title, creator, and copyright from inscription on negative: "600. A Pueblo Girl. Copyright 1896 by C.F. Lummis." Additionally, "Jan. 15, 1896" is inscribed along outside margin of negative. Location information from local accession record. A vintage albumen print from this negative is located in WC064, item M1976.

Physical Description

1 folder20 x 25 cm.

Lummis, Charles Fletcher (1859-1928). Negative of a inscribed photograph of Alfonso XIII, King of Spain, 1918. 1 folder.
Scope and Contents

A glass negative by Fletcher of a photograph of Alfonso XIII, King of Spain, which was inscribed to him. Inscription reads: "To Mr. Charles F. Lummis, 1918" with signature.

Physical Description

1 folder12.5 x 20 cm.

Lummis, Charles Fletcher (1859-1928). Pueblos in the Pueblo of Isleta, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record. A silver gelatin positive print accompanies the negative, and another modern print is present in WC064, item M0818.

Physical Description

1 folder20 x 12.5 cm..

Lummis, Charles Fletcher (1859-1928). Desiderio, The Tigwa WarCaptain (profile), 1895. 1 folder.
Scope and Contents

Inventory number 662, title, date and photographer inscribed directly on negative. Location information from local accession record. A related negative is available in WC064, item H0056, and an albumen print of that negative is located in WC064, item M1078.

Physical Description

1 folder20 x 25 cm.

Lummis, Charles Fletcher (1859-1928). Tigua Maiden, 1896. 1 folder.
Scope and Contents

"691. A Tigua Maiden. Copyright 1896 by C.F. Lummis" inscribed directly on plate. A vintage albumen print from this negative is located in WC064, item M1009.

Physical Description

1 folder20 x 25 cm.

Lummis, Charles Fletcher (1859-1928). Pueblo Couple with three Anglo Children, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record.

Physical Description

1 folder20 x 25 cm.

Lummis, Charles Fletcher (1859-1928). Christmas with Pueblo Family or Guests, 1901. 1 folder.
Scope and Contents

Date, creator, and location information provided by local accession record. Title provided by cataloger based on "XMAS 1901" inscribed directly on negative. WC064 items H0052 through H0054 are a related set of images of the same occasion.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Christmas with Pueblo Family or Guests, 1901. 1 folder.
Scope and Contents

Date, creator, and location information provided by local accession record. Title provided by cataloger based on "XMAS 1901" inscribed directly on negative. WC064 items H0052 through H0054 are a related set of images of the same occasion.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Christmas with Pueblo Family or Guests, 1901. 1 folder.
Scope and Contents

Date, creator, and location information provided by local accession record. Title provided by cataloger based on "XMAS 1901" inscribed directly on negative. WC064 items H0052 through H0054 are a related set of images of the same occasion.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Pueblo boy and an Anglo girl, 1895. 1 folder.
Scope and Contents

A young Pueblo boy interacts with a younger Anglo girl against a studio backdrop.

Physical Description

1 folder12.5 x 18.5 cm.

Lummis, Charles Fletcher (1859-1928). Desiderio, The Tigwa WarCaptain, 1895. 1 folder.
Scope and Contents

Inventory number 661, title, date and photographer inscribed directly on negative. Location information from local accession record. A vintage albumen print from this negative is located in WC064, item M1078. A related negative is item H0049.

Physical Description

1 folder20 x 25 cm.

Lummis, Charles Fletcher (1859-1928). Anglo woman with Pueblo children in Isleta Pueblo, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Pueblo Woman with Anglo Child, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record.

Physical Description

1 folder12.5 x 20 cm.

Lummis, Charles Fletcher (1859-1928). Pueblo Woman with Anglo Child, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record.

Physical Description

1 folder12.5 x 20 cm.

Lummis, Charles Fletcher (1859-1928). Spanish leather box, 1898. 1 folder.
Scope and Contents

Title, creator, and location information provided by local accession record. Date inscribed on negative.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Charles Lummis as a hunter, 1895. 1 folder.
Scope and Contents

Title, creator, date, and location information provided by local accession record. Date inscribed on negative. Negative was very likely among Fletcher's original negatives though the image was taken by a companion.

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Charles Lummis, 1905. 1 folder.
Scope and Contents

Title, creator, date, and location information provided by local accession record. Date inscribed on negative. Negative was very likely among Fletcher's original negatives though the image was taken by a companion.

Physical Description

1 folder20 x 12.5 cm.

Hartsook, Fred (1876-1930). Photograph of an inscribed photograph, 1915. 1 folder.
Scope and Contents

A glass negative by Fletcher of a photograph by Hartsook Photo, which was inscribed to him. Inscription reads: "Al Sr. Char F. Lummis con admiración y sincera amistad. (F?)oustautmo. L.A. Cal 1915"

Physical Description

1 folder20 x 12.5 cm.

Lummis, Charles Fletcher (1859-1928). Water Service, 1894. 1 folder.
Scope and Contents

Title, creator, copyright, and location from inscription on negative: "656 Isleta, N.M. The Water Service. Copyright 1894 by C.F. Lummis." Additionally, "Feb 24 1894" is inscribed along outside margin of negative.

Physical Description

1 folder12.5 x 20 cm.

Lummis, Charles Fletcher (1859-1928). Pueblo Woman, 1895. 1 folder.
Scope and Contents

Title, date, creator, and location information provided by local accession record.

Physical Description

1 folder12.5 x 20 cm.

Hillers, John K. (1843-1925). Corn dance, Moqui, circa 1880. 1 folder.
Scope and Contents

Written on verso: "The corn dance, Moqui." Mounted on 35 x 44 cm. board.

Physical Description

1 folder26 x 34 cm.

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Hillers, John K. (1843-1925). Stairway to Wolpi, Arizona, circa 1880. 1 folder.
Scope and Contents

Written on recto: "Stairway to Wolpi, Arizona."

Physical Description

1 folder33 x 25 cm.

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Central Pacific Railroad Company. Echo City, from the south, circa 1870. 1 folder.
Scope and Contents

Advertisement for Robert Wood & Co., a Philadelphia ornamental iron works, on verso. Mounted on 33 x 47 cm. board.

Physical Description

1 folder22 x 29 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Girl seated in horsedrawn carriage and woman standing in front of barn, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 33 x 38 cm. board.

Physical Description

1 folder24 x 30 cm.

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Dr. L. Webster Fox examining an Indian patient in the Southwest, 1928. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 31 x 36 cm. board. Information about the photograph noted on verso.

Physical Description

1 folder20 x 25 cm.

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Hillers, John K. (1843-1925). Mudheads or clowns of Zuni, circa 1880. 1 folder.
Scope and Contents

Written on verso: "Mudheads or clowns of Zuni." Mounted on 41 x 51 cm. board.

Physical Description

1 folder26 x 34 cm.

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Gould, Hal. Yellow Robe, No. Cheyenne, 1953. 1 folder.
Scope and Contents

Printed in 1992. An account of the Battle of Little Bighorn as remembered by Yellow Robe and recorded by Gould in collection record. Likely taken in Montana.

Physical Description

1 folder36 x 37 cm.

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Matteson, Sumner W. (1867-1920). Oraibi snake men leaving kiva and antelope priests in plaza, circa 1900. 1 folder.
Scope and Contents

Printed by Phil Bourns from the original negative at the Science Museum of Minnesota.

Physical Description

1 folder41 x 51 cm.

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Portraits of Danish and Swedish participants of an 1885 Latter Day Saints conference, circa 1885. 1 folder.
Scope and Contents

Mounted on board. Cataloger supplied title.

Physical Description

1 folder22 x 27 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Laying the capstone on the Mormon Temple, April 1892, Salt Lake City, 1892. 1 folder.
Scope and Contents

Printed on board: "Laying the cap stone of the Salt Lake Temple, by electricity." Mounted on 33 x 41 cm. board.

Physical Description

1 folder24 x 30 cm.

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Wittick, Ben (1845-1903). Hualpi, Moqui Indian village, Arizona, circa 1880. 1 folder.
Wittick
Biographical / Historical

Ben Wittick (1845-1903) was an American photographer known for his photographs of landscapes, railroads, and Native American peoples in the American Southwest. Born in Pennsylvania, Wittick traveled westward in 1878 and initially worked for the Atlantic and Pacific Railroad, later establishing a studio in Gallup, New Mexico, and then Fort Wingate. Among his subjects were Apache, Navajo, and Zuni people; and landscapes of Canyon de Chelly and other scenes on the traditional lands of the Navajo and Pueblo peoples. He died from a rattlesnake bite in 1903.

Physical Description

1 folder27 x 35 cm.

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Wittick, Ben (1845-1903). Hualpi, Moqui Indian village, Arizona, circa 1880. 1 folder.
Wittick
Biographical / Historical

Ben Wittick (1845-1903) was an American photographer known for his photographs of landscapes, railroads, and Native American peoples in the American Southwest. Born in Pennsylvania, Wittick traveled westward in 1878 and initially worked for the Atlantic and Pacific Railroad, later establishing a studio in Gallup, New Mexico, and then Fort Wingate. Among his subjects were Apache, Navajo, and Zuni people; and landscapes of Canyon de Chelly and other scenes on the traditional lands of the Navajo and Pueblo peoples. He died from a rattlesnake bite in 1903.

Physical Description

1 folder27 x 35 cm.

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Wittick, Ben (1845-1903). View at Hualpi, Moqui Indian village, Arizona, awaiting the dancers, circa 1880. 1 folder.
Wittick
Biographical / Historical

Ben Wittick (1845-1903) was an American photographer known for his photographs of landscapes, railroads, and Native American peoples in the American Southwest. Born in Pennsylvania, Wittick traveled westward in 1878 and initially worked for the Atlantic and Pacific Railroad, later establishing a studio in Gallup, New Mexico, and then Fort Wingate. Among his subjects were Apache, Navajo, and Zuni people; and landscapes of Canyon de Chelly and other scenes on the traditional lands of the Navajo and Pueblo peoples. He died from a rattlesnake bite in 1903.

Physical Description

1 folder27 x 35 cm.

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Jackson, William Henry (1843-1942). Colorado Indian encampment, possibly Ute, circa 1885. 1 folder.
Scope and Contents

Mounted on 41 x 51 cm. board.

Jackson
Biographical / Historical

American photographer, artist and explorer, William Henry Jackson (1843-1942) is known for his iconic Indian portraits and landscape photographs of the American West. After working for the Union Pacific Railroad and the USGS (U.S. Geological Survey) throughout the 1870s, Jackson moved to Denver in 1879 and opened a commercial studio. There he continued to photograph the West, taking on many side projects photographing for hotels and railroad companies like the Mexican Central, New York Central, and the Baltimore & Ohio.

Physical Description

1 folder26 x 35 cm.

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Wittick, Ben (1845-1903). View at Hualpi, Moqui Indian village, Arizona, awaiting the dancers, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title.

Wittick
Biographical / Historical

Ben Wittick (1845-1903) was an American photographer known for his photographs of landscapes, railroads, and Native American peoples in the American Southwest. Born in Pennsylvania, Wittick traveled westward in 1878 and initially worked for the Atlantic and Pacific Railroad, later establishing a studio in Gallup, New Mexico, and then Fort Wingate. Among his subjects were Apache, Navajo, and Zuni people; and landscapes of Canyon de Chelly and other scenes on the traditional lands of the Navajo and Pueblo peoples. He died from a rattlesnake bite in 1903.

Physical Description

1 folder27 x 35 cm.

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Hillers, John K. (1843-1925). Shingopavi, Moqui town, circa 1880. 1 folder.
Scope and Contents

Written on verso: "Shingopavi, Moqui town." Mounted on 41 x 51 cm. board.

Physical Description

1 folder26 x 34 cm.

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Hillers, John K. (1843-1925). Chichumavie, circa 1880. 1 folder.
Scope and Contents

Written on verso: "Chichumavie." Mounted on 41 x 51 cm. board. Possibly of the pueblo of Sichomovi.

Physical Description

1 folder26 x 34 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Utah, Price River Castle Gate, D. & R.G.R.R, circa 1880. 1 folder.
Scope and Contents

Mounted on 33 x 41 cm. board.

Physical Description

1 folder24 x 30 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). In the Black Canon of the Gunnison, D. & R.G.R.R, circa 1880. 1 folder.
Scope and Contents

Mounted on 33 x 41 cm. board.

Physical Description

1 folder24 x 29 cm.

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Kolb Bros.. Hopi woman grinding corn, circa 1915. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder28 x 36 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Grand Canon of the Arkansas, D. & R.G.R.R, circa 1880. 1 folder.
Scope and Contents

Mounted on 34 x 41 cm. board.

Physical Description

1 folder25 x 29 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Charley Reynolds, circa 1875. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Scout Charlie Reynolds." Printed ca. 1890. Typewritten note with photograph (in collection file): "This original portrait photograph by Barry is reproduced between pages 44 & 45 of Col. Graham's The story of the Little Big Horn."

Physical Description

1 folder17 x 12 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of John Martin, General Custer's trumpeter, circa 1875. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Trumpeter, John Martin." Printed ca. 1890.

Physical Description

1 folder14 x 6 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Low Dog, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Chief Low Dog." Typewritten note with photograph (now in collection file): "This original portrait photograph by Barry is reproduced on page 74 of Col. Graham's The Custer myth."

Physical Description

1 folder17 x 12 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Wild Horse, cousin of Crazy Horse, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Wild Horse, Crazy Horse cousin."

Physical Description

1 folder17 x 12 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Yellowstone Kelly, circa 1875. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Scout Yellow Stone Kelly." Printed ca. 1890.

Physical Description

1 folder15 x 10 cm.

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Barry, D. F. (David Francis) (1854-1934). East and west views, with U.S. Army personnel commemorating the battle in foreground, of the ford on the Little Bighorn where Major Reno's battalion retreated during the battle, 1886. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Reno hill, Reno crossing Little Bighorn." Typewritten note with photograph (now in collection file): "Two original Barry photographs of the ford on the Little Big Horn, used by Maj. Reno's battalion in the retreat of 6/25/76. One view is est and the other east. X's indicate the exact crossing site and Reno's route up the bluffs on the east bank of the river."

Physical Description

1 folder22 x 17 cm. ; 22 x 17 cm.

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Barry, D. F. (David Francis) (1854-1934). View of the Little Bighorn battlefield with U.S. Army personnel commemorating the battle in foreground, 1886. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Custer's last stand."

Physical Description

1 folder24 x 19 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Chief Gall and his son, circa 1875. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Chief Gall and Nefherd [?]." Printed in 1890. Advertisement for portrait photographs of Gall pasted on verso.

Physical Description

1 folder23 x 15 cm.

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Barry, D. F. (David Francis) (1854-1934). Studio portrait of Chief Gall, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Gen. F.W. Benteen."

Physical Description

1 folder23 x 15 cm.

Materials Viewable Online
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Barry, D. F. (David Francis) (1854-1934). View of the Little Bighorn battlefield with U.S. Army personnel commemorating the battle in foreground, 1886. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Custer Battlefield [?] where Custer dismounted."

Physical Description

1 folder24 x 19 cm.

Materials Viewable Online
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Barry, D. F. (David Francis) (1854-1934). East and west views, with U.S. Army personnel commemorating the battle in foreground, of the ford on the Little Bighorn where Major Reno's battalion retreated during the battle, 1886. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative folding mat with Barry's ticket on verso. Written on folding mat: "Reno hill, east side."

Physical Description

1 folder22 x 17 cm. ; 22 x 17 cm.

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Placer mining, San Juan River, Utah, A.R. & W. Co., (Wilson's), Dec. 1894, 1894. 1 folder.
Physical Description

1 folder31 x 21 cm.

Materials Viewable Online
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Yellowstone Park, 1902. 1 folder.
Scope and Contents

Written on verso: "Yellowstone Park, 21/6/02."

Physical Description

1 folder9 x 31 cm.

Materials Viewable Online
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Yellowstone Park, 1902. 1 folder.
Scope and Contents

Written on verso: "Yellowstone Park, June 1902."

Physical Description

1 folder9 x 31 cm.

Materials Viewable Online
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Yellowstone Park, 1902. 1 folder.
Scope and Contents

Written on verso: "Yellowstone Park, June 1902."

Physical Description

1 folder9 x 31 cm.

Materials Viewable Online
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Yellowstone Park, 1902. 1 folder.
Scope and Contents

Written on verso: "Yellowstone Park, 21/6/02, 3 p.m."

Physical Description

1 folder9 x 31 cm.

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Gearhart Park, circa 1890. 1 folder.
Scope and Contents

Printed on recto: "Gearhart Park." Written on recto: "Showing black 24 Gearhart Park. The tent marked I is your tent floor." Mounted on 26 x 31 cm. board. Stamp of W.I. Crawford, Astoria, Or., on verso.

Physical Description

1 folder9 x 24 cm.

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Harris, C. C.. Madero's forces, Sta. Clara Canon, circa 1910. 1 folder.
Scope and Contents

Printed on recto: "115." Mounted on 15 x 34 cm. board.

Physical Description

1 folder11 x 29 cm.

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Heron, Michal. Indian children and a woman listening to an elderly Indian man playing a drum, possibly Dakota Indians living in South Dakota, circa 1970. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder23 x 35 cm.

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Emsley. Plains Indians on horseback, 1903. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 26 x 31 cm. board.

Physical Description

1 folder16 x 21 cm.

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Sheldon's camp, Marysville, Calif., 1905, 1905. 1 folder.
Scope and Contents

Written on verso: "Sheldon's camp, Marysville, Calif., 1905." Mounted on 26 x 31 cm. board.

Physical Description

1 folder20 x 25 cm.

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Wittick, Ben (1845-1903). Dance of the shalako, Zuni Pueblo, Nov. 28th '97, 1897. 1 folder.
Scope and Contents

Printed on recto: "No. 641." Mounted on 26 x 31 cm. board.

Wittick
Biographical / Historical

Ben Wittick (1845-1903) was an American photographer known for his photographs of landscapes, railroads, and Native American peoples in the American Southwest. Born in Pennsylvania, Wittick traveled westward in 1878 and initially worked for the Atlantic and Pacific Railroad, later establishing a studio in Gallup, New Mexico, and then Fort Wingate. Among his subjects were Apache, Navajo, and Zuni people; and landscapes of Canyon de Chelly and other scenes on the traditional lands of the Navajo and Pueblo peoples. He died from a rattlesnake bite in 1903.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Vroman, H. E.. Market of Quechua Indians in Peru, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title. Hand colored.

Physical Description

1 folder41 x 51 cm.

Materials Viewable Online
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W.H. Jackson Photograph and Publishing Co.. Stuffed buffalo head, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title. Printed on recto: "1089."

Physical Description

1 folder44 x 41 cm.

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Haxton, Colo. : soddy house, circa 1915. 1 folder.
Scope and Contents

Written on verso: "Haxton, Colo. Soddy house. Purchased from great niece." Mounted on 26 x 31 cm. board.

Physical Description

1 folder17 x 22 cm.

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Territorial delegates, circa 1890. 1 folder.
Scope and Contents

Biographies of delegates from Arizona, Dakota, Idaho, Montana, New Mexico, Utah, Washington, and Wyoming, with vignette photographs of each on verso. Mounted on 31 x 26 cm. board.

Physical Description

1 folder24 x 20 cm.

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Haynes, Willis P.. Mission San Xavier del Bac, Tucson, Arizona, circa 1885. 1 folder.
Scope and Contents

Written on verso: "Mission San Xavier del Bac, Tucson, Arizona, ca. 1887. Photographer: Willis P. Haynes." Mounted on 26 x 31 cm. board.

Physical Description

1 folder21 x 26 cm.

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Davis, O. T. Men, women, and a girl sitting outside an adobe house decorated with deer antlers, possibly in Colorado, 1894. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 26 x 25 cm. board.

Physical Description

1 folder19 x 25 cm.

Materials Viewable Online
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Mitchell, Daniel S.. Pease & Taylor, general grocers and commission merchants, Cheyenne, Wyo, circa 1878. 1 folder.
Scope and Contents

Mounted on 31 x 26 cm. board.

Physical Description

1 folder22 x 16 cm.

Materials Viewable Online
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Indian woman wearing beads and a beaded headband, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder25 x 17 cm.

Materials Viewable Online
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Indian woman in a feather headband standing on a rock and looking out to sea, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder25 x 17 cm.

Materials Viewable Online
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Indian woman wearing beads and a beaded headband leaning against a rock, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder35 x 20 cm.

Materials Viewable Online
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Indian woman in a feather headband standing on a rock and looking toward the camera, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder37 x 15 cm.

Materials Viewable Online
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Indian woman wearing beads and a beaded headband leaning against a rock, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder30 x 20 cm.

Materials Viewable Online
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Indian woman in a feather headband standing on a rock and looking out to sea, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder37 x 20 cm.

Materials Viewable Online
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Indian woman in a feather headband looking out to sea, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder25 x 17 cm.

Materials Viewable Online
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Indian woman in a feather headband sitting on a rock, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder17 x 26 cm.

Materials Viewable Online
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Lummis, Charles Fletcher (1859-1928). Indian man, possibly Sioux, in warbonnet on horse, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Possibly by Lummis.

Physical Description

1 folder31 x 26 cm.

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Marble, L. W.. Man and woman on horseback with canoeing women and hotel in backgroung, Sylvan Lake, South Dakota, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 26 x 31 cm. board.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Marble, L. W.. Man and woman on horseback with canoeing women and hotel in backgroung, Sylvan Lake, South Dakota, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on 26 x 31 cm. board. Likely by Marble.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Howard. Beef issue at Spotted Tail's Agency, Neb, circa 1876. 1 folder.
Scope and Contents

Written on recto of board: "Beef issue at Spotted Tail's Agency, Neb." Mounted on 28 x 36 cm. board.

Physical Description

1 folder22 x 29 cm.

Materials Viewable Online
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Fredericks, Jean. Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied from catalog The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Genthe, Arnold (1869-1942). Acoma man in blanket on the edge of a mesa with Enchanted Mesa in background, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "Apache Indian, Arizona desert country." Possibly a photographic reproduction of a lithographic print.

Physical Description

1 folder24 x 33 cm.

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Booen & Ewing. C.D. Blodget's logging camp, circa 1890. 1 folder.
Scope and Contents

Mounted on 26 x 31 cm. board.

Physical Description

1 folder19 x 23 cm.

Materials Viewable Online
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Fredericks, Jean. Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied by The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied by The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder31 x 26 cm.

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Portrait of a young Indian man, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Portrait of a young Indian man wearing a USA for Africa sweatshirt, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Grabill, John C. H.. Big Foot's band of warriors, circa 1890. 1 folder.
Scope and Contents

Copyright 1890. Names of warriors printed on recto of photograph.

Physical Description

1 folder19 x 32 cm.

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Brother of Joe Tenorio of Santa Domingo Pueblo, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title. Hand colored.

Physical Description

1 folder34 x 25 cm.

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Rau, William Herman (1855-1920). Charles American Horse, circa 1901. 1 folder.
Scope and Contents

Copyright 1901. Hand colored.

Physical Description

1 folder36 x 27 cm.

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Portrait of a young Indian woman wearing t-shirt, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder30 x 28 cm.

Materials Viewable Online
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Portrait of a young Indian man wearing an arrowhead necklace, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder30 x 28 cm.

Materials Viewable Online
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Portrait of a young Indian woman wearing sweatshirt, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder30 x 28 cm.

Materials Viewable Online
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Fredericks, Jean. Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied by The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Fredericks, Jean. Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied by The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Fredericks, Jean. Niman ceremony, Mishongovi, Second Mesa, about 1945, circa 1945. 1 folder.
Scope and Contents

Title and photographer name supplied from The photograph and the American Indian. In color. Gift of the photographer.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Seumptewa, Owen (Native American photographer, born 1946). Elderly Indian woman, possibly a Hopi Indian, seated between a bed and a potbellied stove, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder28 x 27 cm.

Materials Viewable Online
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Invincible society, circa 1890. 1 folder.
Scope and Contents

Written on recto: "Invincible society." Mounted on 24 x 36 cm. board. Sign in background suggests photograph was taken at the Carlisle Indian School.

Physical Description

1 folder23 x 35 cm.

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Spectators on horseback at an Ute sun dance, White Rock Agency near Vernal, Utah, circa 1905. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder21 x 36 cm.

Materials Viewable Online
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Ute Indians at sun dance, White Rock Agency near Vernal, Utah, circa 1905. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder23 x 36 cm.

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Sheriff, Christopher,. Silhouette with feather, 1983. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder35 x 22 cm.

Materials Viewable Online
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Barry, D. F. (David Francis) (1854-1934). Monument at Little Bighorn Battlefield, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph in decorative mat with Barry's ticket on verso. Written on mat: "The Custer Battlefield."

Physical Description

1 folder22 x 17 cm.

Materials Viewable Online
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Shelton's Camp, Marysville, Calif., 1905, 1905. 1 folder.
Scope and Contents

Written on verso: "Shelton's Camp, Marysville, Calif., 1905." Mounted on 28 x 33 cm. board.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Shelton's Camp, Marysville, Calif., 1905, 1905. 1 folder.
Scope and Contents

Written on verso: "Shelton's Camp, Marysville, Calif., 1905." Mounted on 28 x 33 cm. board.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Shelton's Camp, Marysville, Calif., 1905, 1905. 1 folder.
Scope and Contents

Written on verso: "Shelton's Camp, Marysville, Calif., 1905." Mounted on 28 x 33 cm. board.

Physical Description

1 folder21 x 25 cm.

Materials Viewable Online
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Shelton's Camp, Marysville, Calif., 1905, 1905. 1 folder.
Scope and Contents

Written on verso: "Shelton's Camp, Marysville, Calif., 1905." Mounted on 28 x 33 cm. board.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Rymes, Marguerite. Two men at a nearly broken horse wagon, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Several people in traditional dresses, watching something, photo taken from back, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Two men and two women by the horse wagon with dried meat hanging down its sides, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Photo of a girl infront of blossoming flowers, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Two tents and two carts before a dackdrop [of] hills, two men and a woman gazing at the hills, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Family photo of two men, three women, and a baby, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Pile of firewod in front of tepii [sic], man on horse on the right, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Two women mounted on a black horse, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Girl with teddy bear with shoes, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Four men taking a rest in the fields, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Man mounted on horse, body of water stretching along the horizon in the back, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Elder dressed in a traditional cloak, by dead fire, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Two young men posing by a black truck, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Two men posing with hats in hand, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

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Rymes, Marguerite. Three elder men and a child posing in traditional war gear, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Woman grinding grain, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Two mothers each with her baby, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Woman in traditional clothing mounted on black horse, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Woman and her baby posing infront of the "Dulce" (rail?) station, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Man posing by the rear of black automobile, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Two Indian and one white woman with children in a tent, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Two teenager boys on a rocky cliff, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. Elder woman building a basket, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Rymes, Marguerite. Two women in traditional clothing mounted on horses, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Woman mounted on horse, man by the horse and child, before tent, looking afar, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Woman and child in a wagon pulled by two horses, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Rymes, Marguerite. Women mounted on horses, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Rymes, Marguerite. Family photo: mother, father, three girls, one boy, and a baby, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rymes, Marguerite. 8 women (two of them white) with children, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rymes, Marguerite. Workers of a painting shop or a lime paint factory, circa 1935. 1 folder.
Scope and Contents

Title supplied by dealer's list. 1983 copyright held by Joanne Rijmes. Printed by Rijmes from Rymes' negatives.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Steltzer, Ulli. Portrait of an elderly man, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 1

Title supplied by dealer's list. Series consists of 20 black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Landscape : rocky shores of a lake, reflecting the sky, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 2

Title supplied by dealer's list. Series consists of 20 black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Portrait of a toddler playing with the skin of a dead seal, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 4

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Two boys fishing in the icy lake, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 5

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Two elderly women sitting on the steps, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 6

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Riding the snowmobile along telegraph lines, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 7

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Portrait of a man steering a motorboat, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 8

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Nude : woman posing on the lakeshore under an evening sun, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 9

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Elderly man pouring tea in a cup in front of the window, depiction of crucifix on the wall, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 10

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Newborn's baptism, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 11

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Padelling into the foggy lake in a canoe, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 12

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Man making bricks of ice, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 13

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Dragging ice with a snowmobile, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 14

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Elder fishing through a hole in the ice, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 15

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Children listening to tapes at school, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 16

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Portrait of an elderly woman, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 17

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Woman standing by the indoor stove, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 18

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Woman carrying two buckets of water along the main street, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 19

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Steltzer, Ulli. Family at the breakfast table, circa 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 20

Title supplied by dealer's list. Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Haynes, F. Jay (Frank Jay) (1853-1921). Arapahoe Indian chiefs at Ft. Washakie, Wyo. Terr., at time of visit of Pres. C.A. Arthur, 1883, 1883. 1 folder.
Scope and Contents

Written on verso: "Arapahoe Indian chiefs at Ft. Washakie, Wyo. Terr., at time of visit of Pres. C.A. Arthur, 1883."

Haynes
Biographical / Historical

F. Jay Haynes (1853-1921) was a professional photographer who documented the settlement and expansion of the American Northwest during the late 19th and early 20th centuries. Based in Minnesota and North Dakota, Haynes served as the official photographer for Northern Pacific Railway and Yellowstone National Park. Haynes first visited Yellowstone in 1881 and, a few years later in 1884, obtained permission to operate a photography studio there. He served as Yellowstone's official photographer from 1884 until 1920 when he was succeeded by his son, Jack Ellis Haynes (1884-1962).

Physical Description

1 folder30 x 43 cm.

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Chocolate, Dorothy (1959). Checking nets, Raie Lakes, NWT, 1970. 1 folder.
Scope and Contents

Photograph mounted and matted.

Physical Description

1 folder32 x 22 cm.

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Aguilar, Dugan. Hunter, circa 1984. 1 folder.
Scope and Contents

Photograph mounted and matted.

Physical Description

1 folder26 x 35 cm.

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Hall, Douglas Kent.. Taos man, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. Photograph mounted and matted.

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder30 x 20 cm.

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Chocolate, Dorothy (1959). Anne Roberts, Ft. McPherson, NWT, 1982. 1 folder.
Scope and Contents

Photograph mounted and matted.

Physical Description

1 folder32 x 22 cm.

Materials Viewable Online
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Chocolate, Dorothy (1959). Joan Nazon, Arctic Red River, NWT, 1984. 1 folder.
Scope and Contents

Photograph mounted and matted.

Physical Description

1 folder32 x 22 cm.

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Chocolate, Dorothy (1959). William Nerysoo, Ft. McPherson, NWT, 1984. 1 folder.
Scope and Contents

Photograph mounted and matted.

Physical Description

1 folder22 x 32 cm.

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Indian delegation (under Spotted Tail) at the Corcoran Gallery of Art, Washington, D.C., October 3d, 1877, 1877. 1 folder.
Scope and Contents

Mounted on 29 x 37 cm. board.

Physical Description

1 folder15 x 24 cm.

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Overby. Hauling beets an [sic] J.T. Ames Ranch, Bridger, Mont, circa 1890. 1 folder.
Scope and Contents

Mounted on 31 x 36 cm. board. Written on verso: "Thurlow Ames' best harvest, Bridger, Mont." Gift of Mrs. Louisa Jensen.

Physical Description

1 folder21 x 26 cm.

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Platt, A. C.. Horse teams standing in front of an ore refining plant, circa 1890. 1 folder.
Scope and Contents

Mounted on 27 x 33 cm. board.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Gove & Morth. Idolo y piedra de los sacrificios, Mexico, circa 1880. 1 folder.
Scope and Contents

Printed on recto: "629." Preservation.

Physical Description

1 folder27 x 21 cm.

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Tribe over 300 Mojave Indians, Arizona, 1871. 1 folder.
Scope and Contents

Written on verso: "Tribe over 300 Mojave Indians, Arizona, 1871." Mounted on 29 x 37 cm. board.

Physical Description

1 folder21 x 28 cm.

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Pueblos, 1877. 1 folder.
Scope and Contents

Two portraits mounted on 26 x 39 cm. board. Written on recto: "1015" and "Nanaanye, head chief of all the Pueblos, age 70, height 5.4 1/2." With portrait of "Wasotoyamin or Small Feathers of the Eagle, governor of pueblo of Taos." "New Mexico 1877"

Physical Description

1 folder21 x 14 cm.

Materials Viewable Online
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Gardner, Alexander (1821-1882). Commissioner Bogy reading treaty, 1867. 1 folder.
Scope and Contents

Printed on recto: "806." Mounted on 28 x 36 cm. card of the Dept. of Interior, U.S. Geological Survey of the Territories. Written on verso: "Commissioner Bogy reading treaty."

Physical Description

1 folder16 x 22 cm.

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Wurmfeld, Hope Herman. Jock Soto, circa 1985. 1 folder.
Scope and Contents

Written on verso: "Jock Soto." Gift of the photographer.

Physical Description

1 folder35 x 27 cm.

Materials Viewable Online
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Brady, Mathew B. (approximately 1823-1896). Sioux delegation at White House, 1857-1858. 1 folder.
Scope and Contents

Printed on recto: "838." Written on recto: "Sioux delegation at White House." Mounted on 28 x 36 cm. card of the Dept. of Interior, U.S. Geological Survey of the Territories.

Physical Description

1 folder16 x 22 cm.

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Wurmfeld, Hope Herman. Leonard Peltier as depicted in a sculptural detail from the cathedral of St. John the Divine, New York, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder36 x 28 cm.

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Jackson Bros. (Omaha, Neb.). Four studio portraits of Pawnee Indian chiefs and interpreters, circa 1880. 1 folder.
Scope and Contents

Each photograph measures 13 x 10 cm. and is mounted on a 35 x 27 cm. decorative board.

Jackson
Biographical / Historical

American photographer, artist and explorer, William Henry Jackson (1843-1942) is known for his iconic Indian portraits and landscape photographs of the American West. After working for the Union Pacific Railroad and the USGS (U.S. Geological Survey) throughout the 1870s, Jackson moved to Denver in 1879 and opened a commercial studio. There he continued to photograph the West, taking on many side projects photographing for hotels and railroad companies like the Mexican Central, New York Central, and the Baltimore & Ohio.

Physical Description

1 folder35 x 27 cm.

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Everton, Macduff. Maya school children pose for their portrait in front of a church damaged during the Caste War, Tihosuco, Quintana Roo, 1971, 1971. 1 folder.
Scope and Contents

Written on verso: "Maya school children pose for their portrait in front of a church damaged during the Caste War, Tihosuco, Quintana Roo, 1971."

Physical Description

1 folder36 x 28 cm.

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Everton, Macduff. Don Chucho reading the paper at lunch, paper delivered from Merida by the twiceaday bus, Ruinas de Ake, Yucatan, 1976, 1976. 1 folder.
Scope and Contents

Written on verso: "Don Chucho reading the paper at lunch, paper delivered from Merida by the twiceaday bus, Ruinas de Ake, Yucatan, 1976."

Physical Description

1 folder28 x 36 cm.

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Heron, Michal. Indian woman sitting in the bed of a pickup truck during a snowfall, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder24 x 35 cm.

Materials Viewable Online
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Heron, Michal. Navajo woman & son, Dinnehotso, Arizona, weaving rug, circa 1980. 1 folder.
Scope and Contents

Written on verso: "Navajo woman & son, Dinnehotso, Arizona, weaving rug."

Physical Description

1 folder35 x 24 cm.

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Heron, Michal. Indian man seated on an agricultural apparatus, circa 1981. 1 folder.
Scope and Contents

Copyright 1981. Cataloger supplied title.

Physical Description

1 folder35 x 24 cm.

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Harris, Alex (1949). Lizzie Lee, Shungnak, Alaska, 1974, 1974. 1 folder.
Scope and Contents

Printed 1981.

Physical Description

1 folder36 x 28 cm.

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Scott, Everett. Rex Lee Jim, circa 1987. 1 folder.
Scope and Contents

Copyright 1987.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. James Raben with a caribou, Panlatuk, North West Territories, 1980, 1980. 1 folder.
Scope and Contents

Photographs of Eskimos ; 3

Series consists of black and white photographs of the Inuit (Eskimos) of Northern Canada and the Arctic, which were among photographs used in her book Inuit, the north in transition (1982).

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Jim Snider grandfather, 2nd from left, back row : family gettogether, Missouri, circa 1890. 1 folder.
Scope and Contents

Written on verso: "Jim Snider grandfather, 2nd from left, back row : family gettogether, Missouri." Mounted on board.

Physical Description

1 folder19 x 24 cm.

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Seumptewa, Owen (Native American photographer, born 1946). Elderly Indian man holding a woven cloth, circa 1990. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted and matted.

Physical Description

1 folder21 x 21 cm.

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Boyd-Whitesinger, A.. Young Indian man in sweat jacket with woman and girl standing in the background, circa 1970. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Boyd-Whitesinger, A.. Indian woman standing near a curtained window with a flower obscuring her face, circa 1970. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder17 x 25 cm.

Materials Viewable Online
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Boyd-Whitesinger, A.. Three Indian children standing near a screen door, circa 1970. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder16 x 24 cm.

Materials Viewable Online
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Boyd-Whitesinger, A.. Young Indian man and woman wearing sweat jackets, circa 1970. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Nast. Santa Clara Indians with two white children, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Printed on recto: "Santa Clara Indians." Mounted on board. Stamp of H.W. Wyman on verso.

Physical Description

1 folder17 x 21 cm.

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Palacio Nacional, Mexico, circa 1880. 1 folder.
Scope and Contents

Printed on recto: "707." Preservation.

Physical Description

1 folder21 x 28 cm.

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Briquet, Abel. Chapultepec Castle, Mexico City, Mexico, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder19 x 25 cm.

Materials Viewable Online
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Frashers Inc.. View of a Hopi pueblo, circa 1925. 1 folder.
Scope and Contents

Cataloger supplied title. Color tinted.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Rose & Hopkins. Alvino Chavaria, Pueblo, circa 1899. 1 folder.
Scope and Contents

Copyright 1899. Mounted on board.

Physical Description

1 folder22 x 18 cm.

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Taber, I. W. (Isaiah West) (1830-1912). Arlee, chief of Flathead Indians, circa 1885. 1 folder.
Scope and Contents

Portrait painting by J. Koch altered with photographic image of Arlee's face. Mounted on board.

Physical Description

1 folder31 x 18 cm.

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White woman looking admiringly at young Indian man, circa 1905. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder19 x 25 cm.

Materials Viewable Online
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Moon, Carl (1878-1948). Medicine man with his patient, circa 1905. 1 folder.
Scope and Contents

Cataloger supplied title. Color tinted.

Physical Description

1 folder21 x 26 cm.

Materials Viewable Online
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Frashers Inc.. Elderly Pueblo Indian woman carrying a load, circa 1925. 1 folder.
Scope and Contents

Cataloger supplied title. Color tinted.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Monument to "Bucky" O'Neil, circa 1910. 1 folder.
Scope and Contents

Printed on label: "American sculpture, Borglum, Solon H. (18681922), Monument to 'Bucky' O'Neil, c. 1907, bronze, above lifesize, Prescott, Arizona." Mounted on board.

Physical Description

1 folder17 x 23 cm.

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Taber, I. W. (Isaiah West) (1830-1912). Magnolia Avenue, Riverside, Cal, circa 1885. 1 folder.
Scope and Contents

Printed on recto: "B 1960." Mounted on board.

Physical Description

1 folder13 x 21 cm.

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Taber, I. W. (Isaiah West) (1830-1912). Santa Barbara Harbor, yacht Casco at anchor, circa 1885. 1 folder.
Scope and Contents

Printed on recto: "B 1407." Mounted on board.

Physical Description

1 folder13 x 21 cm.

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Jackson, William Henry (1843-1942). House of the capitan of ShungAPahWe, circa 1871. 1 folder.
Scope and Contents

Printed on recto: "302." Mounted on 28 x 36 cm. card of the Dept. of Interior, U.S. Geological Survey of the Territories.

Jackson
Biographical / Historical

American photographer, artist and explorer, William Henry Jackson (1843-1942) is known for his iconic Indian portraits and landscape photographs of the American West. After working for the Union Pacific Railroad and the USGS (U.S. Geological Survey) throughout the 1870s, Jackson moved to Denver in 1879 and opened a commercial studio. There he continued to photograph the West, taking on many side projects photographing for hotels and railroad companies like the Mexican Central, New York Central, and the Baltimore & Ohio.

Physical Description

1 folder12 x 20 cm.

Materials Viewable Online
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Thompson, S. J.. Indian ceremonies, Blackfeet, circa 1900. 1 folder.
Scope and Contents

Printed on recto: "563." Mounted on board.

Physical Description

1 folder19 x 24 cm.

Materials Viewable Online
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Pupils and faculty outside an Indian school, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on board.

Physical Description

1 folder19 x 24 cm.

Materials Viewable Online
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Scott, Everett. Mazii Dineltsoi, March 26, 1988, 1988. 1 folder.
Scope and Contents

Written on verso: "Mazii Dineltsoi, March 26, 1988."

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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View of Salt Lake City, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on board.

Physical Description

1 folder18 x 25 cm.

Materials Viewable Online
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Curtis, Edward S. (1868-1952). Bick Juna, Zuni man, circa 1903. 1 folder.
Scope and Contents

Written on verso: "Bick Juna, Zuni man." Copyright 1903.

Physical Description

1 folder19 x 16 cm.

Materials Viewable Online
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Hess, Bill (1950). Alaskan women, circa 1984. 1 folder.
Scope and Contents

Title supplied from catalog the Photograph and the American Indian.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Harris, Alex (1949). Eskimo woman with chickens, 1974. 1 folder.
Scope and Contents

Cataloger supplied title. Printed 1981.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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St. Mary's Boarding School for Indian Children on the Rosebud Reserve, D.T, circa 1885. 1 folder.
Scope and Contents

Written on verso: "St. Mary's Boarding School for Indian Children on the Rosebud Reserve, D.T." and "E.P. Smiley [?]." Photograph features staff of school.

Physical Description

1 folder20 x 24 cm.

Materials Viewable Online
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Eskimo snapshot, village of Tununak, Alaska, about 1960, circa 1960. 1 folder.
Scope and Contents

Title supplied by catalog the Photograph and the American Indian. Possibly printed by Alex Harris from the original negative.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Fiske, George (1835-1918). Stagecoach pulled by four horses, Yosemite, California, circa 1875. 1 folder.
Scope and Contents

Printed on recto: "282." Cataloger supplied title.

Physical Description

1 folder11 x 19 cm.

Materials Viewable Online
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Fiske, George (1835-1918). Mirror view of the domes, Yosemite, California, circa 1875. 1 folder.
Scope and Contents

Printed on recto: "328." Cataloger supplied title.

Physical Description

1 folder11 x 18 cm.

Materials Viewable Online
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Fiske, George (1835-1918). Stairway on Cloud's Best Trails, Yosemite California, circa 1875. 1 folder.
Scope and Contents

Printed on recto: "441." Cataloger supplied title.

Physical Description

1 folder19 x 12 cm.

Materials Viewable Online
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Fiske, George (1835-1918). Distant view of the domes, Yosemite, California, circa 1875. 1 folder.
Scope and Contents

Printed on recto: "320." Cataloger supplied title.

Physical Description

1 folder12 x 19 cm.

Materials Viewable Online
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Fiske, George (1835-1918). Glimpse of Yosemite Chapel, California, circa 1875. 1 folder.
Scope and Contents

Printed on recto: "226." Cataloger supplied title.

Physical Description

1 folder19 x 11 cm.

Materials Viewable Online
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Jackson, William Henry (1843-1942). Pueblo girl of Taos, circa 1871. 1 folder.
Scope and Contents

Mounted on 36 x 28 cm. card of the Dept. of Interior, U.S. Geological Survey of the Territories. A typed label was apparently attached to print read: "A Pueblo girl of Taos...hair gathered over ears signifying her single state."

Jackson
Biographical / Historical

American photographer, artist and explorer, William Henry Jackson (1843-1942) is known for his iconic Indian portraits and landscape photographs of the American West. After working for the Union Pacific Railroad and the USGS (U.S. Geological Survey) throughout the 1870s, Jackson moved to Denver in 1879 and opened a commercial studio. There he continued to photograph the West, taking on many side projects photographing for hotels and railroad companies like the Mexican Central, New York Central, and the Baltimore & Ohio.

Physical Description

1 folder19 x 13 cm.

Materials Viewable Online
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Wurmfeld, Hope Herman. Jock Soto, circa 1985. 1 folder.
Scope and Contents

Written on verso: "Jock Soto."

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Thomas, Jeff (1956). Richard Poofpybitty, ComancheOmaha, circa 1985. 1 folder.
Scope and Contents

Pow wow dance series ; no. 3

Title supplied from catalog the Photograph of the American Indian.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Matteson, Sumner W. (1867-1920). Three Gros Ventre investigate one of Matteson's cameras, circa 1900. 1 folder.
Scope and Contents

Printed by Phil Bourns from the original negative.

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Hillers, John K. (1843-1925). View of San Felipe Pueblo, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder25 x 33 cm.

Materials Viewable Online
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Barry, D. F. (David Francis) (1854-1934). Sitting Bull's camp, Standing Rock, circa 1875. 1 folder.
Scope and Contents

Photograph in decorative mat with Barry's ticket on verso. Written on folding mat: "Sitting Bull's camp, Standing Rock." Printed ca. 1890.

Physical Description

1 folder17 x 22 cm.

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Hillers, John K. (1843-1925). Pueblo of Santo Domingo, circa 1880. 1 folder.
Scope and Contents

Cataloger supplied title. Camera equipment in middle distance.

Physical Description

1 folder25 x 33 cm.

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View of a Hopi village with a man seating on a ladder, likely in Arizona, circa 1890. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on board. Attributed to "Hall" by dealer.

Physical Description

1 folder19 x 24 cm.

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Lummis, Charles Fletcher (1859-1928). Crow man in beaded leather shirt, Montana, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. From the collection of Charles Lummis; possibly by Lummis.

Physical Description

1 folder21 x 13 cm.

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Lummis, Charles Fletcher (1859-1928). Plains Indian man in warbonnet, Montana, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. From the collection of Charles Lummis; possibly by Lummis.

Physical Description

1 folder21 x 13 cm.

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Lummis, Charles Fletcher (1859-1928). Indian man on horseback, Little Bighorn Battlefield, Mont, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. From the collection of Charles Lummis; possibly by Lummis.

Physical Description

1 folder13 x 21 cm.

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Jackson, William Henry (1843-1942). Indian woman from the Pueblo of Taos, circa 1871. 1 folder.
Scope and Contents

Mounted on 36 x 28 cm. card of the Dept. of Interior, U.S. Geological Survey of the Territories. Written on verso: "616. Indian woman from the Pueblo of Taos."

Jackson
Biographical / Historical

American photographer, artist and explorer, William Henry Jackson (1843-1942) is known for his iconic Indian portraits and landscape photographs of the American West. After working for the Union Pacific Railroad and the USGS (U.S. Geological Survey) throughout the 1870s, Jackson moved to Denver in 1879 and opened a commercial studio. There he continued to photograph the West, taking on many side projects photographing for hotels and railroad companies like the Mexican Central, New York Central, and the Baltimore & Ohio.

Physical Description

1 folder19 x 14 cm.

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Robertson, J. D.. Hiker examining the vegetation on top of mountain, circa 1950. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder19 x 24 cm.

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Robertson, J. D.. Shirtless hiker resting on top of mountain, circa 1950. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder24 x 19 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Gateway to the Garden of the Gods, Col, circa 1884. 1 folder.
Scope and Contents

Figure in photograph possibly the artist. Mounted on board.

Physical Description

1 folder25 x 29 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Utah, north portal Castle Gate & R.G.R.R, circa 1884. 1 folder.
Scope and Contents

Mounted on board.

Physical Description

1 folder24 x 28 cm.

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Central Pacific Railroad Company. Palisades, Humboldt River C.P.R.R, circa 1884. 1 folder.
Scope and Contents

Mounted on board.

Physical Description

1 folder24 x 30 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Cacti on a rocky hill, possibly in California or Nevada, circa 1884. 1 folder.
Scope and Contents

Mounted on board.

Physical Description

1 folder24 x 30 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Yucca brevifolia, Mojave Desert, S.P.R.R, circa 1884. 1 folder.
Scope and Contents

Mounted on board.

Physical Description

1 folder25 x 28 cm.

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Savage, C. R. (Charles Roscoe) (1832-1909). Royal Arch Yucca of the Mojave Desert, circa 1884. 1 folder.
Scope and Contents

Mounted on board. Copyright 1884.

Physical Description

1 folder24 x 30 cm.

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Cowboy riding bucking horse, possibly during rodeo, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder46 x 30 cm.

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Mother and infant, 1890. 1 folder.
Physical Description

1 folder

Materials Viewable Online
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View of possible Indian school campus, circa 1915. 1 folder.
Scope and Contents

Written on verso: "Mrs. Baldwin." Cataloger supplied title. Handtinted.

Physical Description

1 folder13 x 41 cm.

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Three ethnographic photographs of Central American women Indians, circa 1875. 1 folder.
Scope and Contents

Three ethnographic photographs measuring 15 x 11 cm. mounted on 31 x 41 cm. board. Written on recto: "Types d'indiennes de Mizco pres Guatemala."

Physical Description

1 folder31 x 41 cm.

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Three ethnographic photographs of Central American Indians, circa 1875. 1 folder.
Scope and Contents

Three ethnographic photographs measuring 15 x 11 cm. mounted on 31 x 41 cm. board. Caption written below each photograph: "Indiens de Sanajachel," "Indiens de Zuni," and "Indiennes de Momostengo." Likely taken in Guatemala.

Physical Description

1 folder31 x 41 cm.

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Three ethnographic photographs of Central American Indians, circa 1875. 1 folder.
Scope and Contents

Three ethnographic photographs measuring 15 x 11 cm. mounted on 31 x 41 cm. board. Caption written below two of the photographs: "Indiens de Quezaltenango" and "Indiens de Retalulve [?]." Likely taken in Guatemala.

Physical Description

1 folder31 x 41 cm.

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Two ethnographic photographs of Central American Indians, circa 1875. 1 folder.
Scope and Contents

Two ethnographic photographs measuring 15 x 11 cm. mounted on 31 x 41 cm. board. Caption written below the two photographs: "Types d'indiens." Likely taken in Guatemala.

Physical Description

1 folder31 x 41 cm.

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Ethnographic photograph of nine Central American Indian men, circa 1875. 1 folder.
Scope and Contents

Mounted on 31 x 41 cm. board. Caption written below photograph: "Municipalitee indienne de Latzun (Guatemala)."

Physical Description

1 folder15 x 20 cm.

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Hillers, John K. (1843-1925). Flathead delegation to Washington D.C., 1884, 1884. 1 folder.
Scope and Contents

Cataloger supplied title. Back row left to right: TahHetchet (Hand Shot Off), Peter Ronan (U.S. Indian agent), Tcinkusui ChinCoosWe (The Man Who Walks Alone). Center row: GallupSquallShee (Crane with Ring Around His Neck), SlemHihKay, chief (Little Claw of Grizzly Bear). Bottom: SwamAchHam, a warrior (Red Arm).

Physical Description

1 folder41 x 33 cm.

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Spectators seated on a pueblo wall watching a Pueblo ceremony performed by men and young boys, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder28 x 36 cm.

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Possibly a snake ceremony performance, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title. Enlargement of a vintage photograph.

Physical Description

1 folder41 x 51 cm.

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Andrews, E.. Taku Glacier, circa 1900. 1 folder.
Physical Description

1 folder31 x 51 cm.

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Andrews, E.. West Taku Arm, B.C, circa 1900. 1 folder.
Scope and Contents

Printed on recto: "160."

Physical Description

1 folder31 x 51 cm.

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Masayesva, Victor. Rain runner, 1984. 1 folder.
Scope and Contents

Masks and metaphors ; no. 2

Masks and metaphors, no. 2 consists of two photographs. A Hopi runner is photographed as though he seen through the two openings of a kachina mask. This photograph should appear on the left. (The second photograph of this set is lacking.)

Physical Description

1 folder27 x 35 cm.

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Kaiden-Kazanijan. Studio portrait of Philip Ashton Rollins, Princeton class of 1889, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title. In photographer's decorative folder.

Physical Description

1 folder42 x 29 cm.

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Gaede, Marc. Indian miners, Farmington, N.M. : Navajo mine, 1982. 1 folder.
Scope and Contents

Written on verso: "Indian miners, Farmington, N.M. Navajo mine." Mounted on board.

Gaede, Marc
Biographical / Historical

Marc Gaede (1946- ) is an American photographer, environmental activist, and teacher. Born in Tuscon, Arizona, Gaede grew up in Flagstaff, where he immersed himself in the study of field geology, archaeology, and physical anthropology. After returning in 1968 from military service as a U.S. Marine Corps photographer, Gaede became involved in environmental activism. In 1970, he co-founded the early direct action environmental group Black Mesa Defense Fund. In collaboration with members of the American Indian Movement and Edward Abbey (1927-1989), the group organized a direct action campaign against strip mining on shared Navajo and Hopi land on Black Mesa in April 1971. The group's actions inspired Abbey's 1975 novel The Monkey Wrench Gang, along with the next generation of radical environmental advocacy groups, such as Earth First!, who practiced a form of ecological sabotage against environmentally damaging companies and individuals that came to be known as "monkeywrenching." Gaede received his Bachelor of Science degree in anthropology from Northern Arizona University in 1972, and he worked at the at the Museum of Northern Arizona from 1968 to 1977, first as a staff photographer and later as curator of photography. For five months in 1977, he worked for photographer Ansel Adams as a temporary darkroom assistant in Adams's darkroom and studio in Carmel, California. Later he was the Photographer-in-Residence at the University of Arizona's Center for Creative Photography in 1978-1979.

In 1973, Marc Gaede married Marnie Walker Gaede, a writer, editor, publisher, and environmentalist who collaborated with him to edit and publish photography books centering on indigenous cultures and landscapes of the American West and Southwest, many under their own publishing imprint Chaco Press. The Gaedes moved to the Los Angeles area in 1982, where they worked in the television and film industry, including as script analysts for the Walt Disney Company. Gaede received a Master of Fine Arts in photography from the Art Center College of Design in Pasadena in 1988, where he has since worked as an instructor in subjects including photography, environmental issues, and physical anthropology. Since 1989, the Gaedes have also been actively involved with the Sea Shepherd Conservation Society. Marc Gaede joined Sea Shepherd on a 1989 dolphin campaign in Costa Rica as a photographer for Outside magazine and has since photographed numerous high seas campaigns. From 1990 to 1993, the Gaedes worked closely with Robert Sundance, a Lakota Sioux activist from the Standing Rock Indian Reservation, to collaboratively write Sundance's biography.

Physical Description

1 folder19 x 24 cm.

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Gaede, Marc. After school drink, Holbrook, AZ, 1980, 1980. 1 folder.
Scope and Contents

Written on verso: "After school drink, Holbrook, AZ, 1980." Mounted on board.

Gaede, Marc
Biographical / Historical

Marc Gaede (1946- ) is an American photographer, environmental activist, and teacher. Born in Tuscon, Arizona, Gaede grew up in Flagstaff, where he immersed himself in the study of field geology, archaeology, and physical anthropology. After returning in 1968 from military service as a U.S. Marine Corps photographer, Gaede became involved in environmental activism. In 1970, he co-founded the early direct action environmental group Black Mesa Defense Fund. In collaboration with members of the American Indian Movement and Edward Abbey (1927-1989), the group organized a direct action campaign against strip mining on shared Navajo and Hopi land on Black Mesa in April 1971. The group's actions inspired Abbey's 1975 novel The Monkey Wrench Gang, along with the next generation of radical environmental advocacy groups, such as Earth First!, who practiced a form of ecological sabotage against environmentally damaging companies and individuals that came to be known as "monkeywrenching." Gaede received his Bachelor of Science degree in anthropology from Northern Arizona University in 1972, and he worked at the at the Museum of Northern Arizona from 1968 to 1977, first as a staff photographer and later as curator of photography. For five months in 1977, he worked for photographer Ansel Adams as a temporary darkroom assistant in Adams's darkroom and studio in Carmel, California. Later he was the Photographer-in-Residence at the University of Arizona's Center for Creative Photography in 1978-1979.

In 1973, Marc Gaede married Marnie Walker Gaede, a writer, editor, publisher, and environmentalist who collaborated with him to edit and publish photography books centering on indigenous cultures and landscapes of the American West and Southwest, many under their own publishing imprint Chaco Press. The Gaedes moved to the Los Angeles area in 1982, where they worked in the television and film industry, including as script analysts for the Walt Disney Company. Gaede received a Master of Fine Arts in photography from the Art Center College of Design in Pasadena in 1988, where he has since worked as an instructor in subjects including photography, environmental issues, and physical anthropology. Since 1989, the Gaedes have also been actively involved with the Sea Shepherd Conservation Society. Marc Gaede joined Sea Shepherd on a 1989 dolphin campaign in Costa Rica as a photographer for Outside magazine and has since photographed numerous high seas campaigns. From 1990 to 1993, the Gaedes worked closely with Robert Sundance, a Lakota Sioux activist from the Standing Rock Indian Reservation, to collaboratively write Sundance's biography.

Physical Description

1 folder16 x 23 cm.

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Everton, Macduff. Linda Schele photographing Copan antiquities, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder42 x 28 cm.

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Everton, Macduff. Actors in costume for El haragan y el zopilote, Sna Jtz'ibajom group, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder28 x 42 cm.

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Everton, Macduff. Sna Jtz'ibajom actors in costume for "A poco hay cimarrones" play, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder28 x 42 cm.

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Everton, Macduff. Mexico's first Indian women playwrites : Isabel Juarez Espinosa, Petrona de la Cruz Cruz, and Alvina Lopez Gomez, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color. Playwrites are listed from left to right.

Physical Description

1 folder42 x 28 cm.

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Everton, Macduff. Puppet show at the "Teatro Ambulante.", circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color. A note formerly attached to photograph read: "Teatro Ambulante, kids in school with Indian teacher, bilingual education, Spanish & Tzotzil." Likely taken in Mexico.

Physical Description

1 folder28 x 42 cm.

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Everton, Macduff. Sna Jtz'ibajom group practicing, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color.

Physical Description

1 folder28 x 42 cm.

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Everton, Macduff. Jose Perez Hernandez teaching Tzotzlil to villagers as part of a Chiapas literacy project, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color. A note formerly attached to photograph read: "Chiapas literary project17 yr. old Jose Perez Hernandez teaching Tzotzil to villagers/townspeople Zinacantan/private home of Sna Jtz'ibajom writer."

Physical Description

1 folder28 x 42 cm.

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Everton, Macduff. Sna Jtz'ibajom group practicing, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title. In color. A note formerly attached to photograph read: "Sna Jtz'ibajom group script meeting, 3/4/ of the circle, at headquarters."

Physical Description

1 folder28 x 42 cm.

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Hillers, John K. (1843-1925). Pueblo de Santa Clara, N.M, circa 1879. 1 folder.
Scope and Contents

Mounted on board.

Physical Description

1 folder26 x 33 cm.

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Horowitz, Robert (1951). Navajo sweat lodge, Lukachukai, Arizona, 1995. 1 folder.
Scope and Contents

Color print. Cataloger supplied title.

Physical Description

1 folder41 x 51 cm.

Materials Viewable Online
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Cowboy riding bucking horse, possibly during rodeo, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder42 x 26 cm.

Materials Viewable Online
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Pueblo Indian woman standing at the foot of ladder with pot balanced on her head, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Hand tinted.

Physical Description

1 folder51 x 36 cm.

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Johnson, J. A. (American photographer, active ca. 1914). Standing Indian man gestures with his hands to five other Indian men, one of whom is on horseback, circa 1908. 1 folder.
Scope and Contents

Cataloger supplied title. Copyright 1908.

Physical Description

1 folder36 x 44 cm.

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View of Quezaltenango, Guatemala, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "Quezaltenango bet. 19021914." Photographs S2440S2452, M0717M0749, and L0247L0250 of WC064 represent reproductions of photographs taken in Guatemala between 1903 and 1914 by Rev. Walker Eugene McBath at the Presbyterian mission in Quezaltenango; color photographs of items brought back by McBath from Guatemala and given to an unknown person; and contemporary photographs of Quezaltenango. A short narrative about McBath by the donor, W.H. Close, is in the collection file.

Physical Description

1 folder28 x 36 cm.

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Possibly clowns participating in a celebration, Quezaltenango, Guatemala, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Photographs S2440S2452, M0717M0749, and L0247L0250 of WC064 represent reproductions of photographs taken in Guatemala between 1903 and 1914 by Rev. Walker Eugene McBath at the Presbyterian mission in Quezaltenango; color photographs of items brought back by McBath from Guatemala and given to an unknown person; and contemporary photographs of Quezaltenango. A short narrative about McBath by the donor, W.H. Close, is in the collection file.

Physical Description

1 folder28 x 36 cm.

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View of an unidentified church, possibly in Guatemala, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Photographs S2440S2452, M0717M0749, and L0247L0250 of WC064 represent reproductions of photographs taken in Guatemala between 1903 and 1914 by Rev. Walker Eugene McBath at the Presbyterian mission in Quezaltenango; color photographs of items brought back by McBath from Guatemala and given to an unknown person; and contemporary photographs of Quezaltenango. A short narrative about McBath by the donor, W.H. Close, is in the collection file.

Physical Description

1 folder28 x 36 cm.

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Ruins of an unidentified church, possibly in Guatemala, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Photographs S2440S2452, M0717M0749, and L0247L0250 of WC064 represent reproductions of photographs taken in Guatemala between 1903 and 1914 by Rev. Walker Eugene McBath at the Presbyterian mission in Quezaltenango; color photographs of items brought back by McBath from Guatemala and given to an unknown person; and contemporary photographs of Quezaltenango. A short narrative about McBath by the donor, W.H. Close, is in the collection file.

Physical Description

1 folder28 x 36 cm.

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Manley, Roger (1952). Women playing Cadil, Navajo community of ChilChinBeto, 1980, 1980. 1 folder.
Scope and Contents

Title from catalog The photograph and the Native American.

Physical Description

1 folder51 x 41 cm.

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Young Plains Indian man, circa 1900. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder46 x 27 cm.

Materials Viewable Online
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O'Sullivan, Timothy H. (1840-1882). Group of PahUte Indians, Nevada, 1871. 1 folder.
Scope and Contents

Printed on recto: "No. 2." Mounted on 40 x 50 cm. War Department board.

Physical Description

1 folder21 x 28 cm.

Materials Viewable Online
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Matteson, Sumner W. (1867-1920). Young Indian man in fancy cowboy dress, Fort Belknap, Montana, circa 1900. 1 folder.
Scope and Contents

Printed by Phil Bourns from the original negative at the Science Museum of Minnesota.

Physical Description

1 folder51 x 41 cm.

Materials Viewable Online
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Scott, Everett. Genizaro, 1985, 1985. 1 folder.
Physical Description

1 folder51 x 41 cm.

Materials Viewable Online
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Indian child in the doorway of an adobe house, circa 1910. 1 folder.
Scope and Contents

Cataloger supplied title. Mounted on board.

Physical Description

1 folder24 x 13 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Two circus clowns performing in a circus tent, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "F1" and "1."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Two circus clowns outside a circus tent, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "F2" and "#4."

Physical Description

1 folder28 x 36 cm.

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Rogers, Phyllis Ashbridge. Circus clown juggling pillows, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "H1" and "1."

Physical Description

1 folder28 x 36 cm.

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Rogers, Phyllis Ashbridge. Circus performers, including a clown, talking, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "H2" and "2."

Physical Description

1 folder28 x 36 cm.

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Rogers, Phyllis Ashbridge. Circus clown standing in front of circus truck, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "I." Copyright 1978.

Physical Description

1 folder28 x 36 cm.

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Rogers, Phyllis Ashbridge. Circus clown putting on his makeup, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "I2" and "2."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Circus clown acting silly for the camera, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "I2."

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Four circus clowns reading from a book, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "K2" and "2."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Two circus clowns acting silly for the camera, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "L2" and "2."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Circus clown acting silly for the camera, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "M" and "#4."

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Circus clown smiling for the camera, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "M2" and "2."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Rogers, Phyllis Ashbridge. Circus clown preparing for performance, circa 1978. 1 folder.
Scope and Contents

Cataloger supplied title. Written on verso: "P."

Physical Description

1 folder28 x 36 cm.

Materials Viewable Online
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Possibly a Central American Indian woman seated on the edge of a well, circa 1920. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder36 x 28 cm.

Materials Viewable Online
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Pueblo Indians gathered in front of their pueblo, possibly in New Mexico or Arizona, circa 1900. 1 folder.
Scope and Contents

Possibly printed by Phil Bourns from the original negative.

Physical Description

1 folder41 x 51 cm.

Materials Viewable Online
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Manley, Roger (1952). Elderly Navajo woman bottle feeding an infant, circa 1984. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder50 x 41 cm.

Materials Viewable Online
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Aguilar, Dugan. Native with trophy, circa 1985. 1 folder.
Scope and Contents

Mounted and matted.

Physical Description

1 folder35 x 20 cm.

Materials Viewable Online
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Barry, D. F. (David Francis) (1854-1934). Indian police, circa 1890. 1 folder.
Scope and Contents

Printed from original negative in the Western History Department of Denver Public Library by Paul Harbaugh.

Physical Description

1 folder20 x 25 cm.

Materials Viewable Online
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Chocolate, Dorothy (1959). Vera Catholique, with her sons, Snowdrift, NWT, circa 1985. 1 folder.
Physical Description

1 folder38 x 36 cm.

Materials Viewable Online
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McNeil, Larry (1950). Figure dancing in native Alaskan shawl, circa 1983. 1 folder.
Scope and Contents

Cataloger supplied title. Copyright 1983. In color.

Physical Description

1 folder31 x 28 cm.

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Seumptewa, Owen (Native American photographer, born 1946). Young Indian woman wrapped in blanket and an older Indian woman with baby on her back, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder26 x 17 cm.

Materials Viewable Online
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Seumptewa, Owen (Native American photographer, born 1946). Dirt road leading up to pueblo, possibly in New Mexico or Arizona, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder20 x 26 cm.

Materials Viewable Online
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Seumptewa, Owen (Native American photographer, born 1946). Ladder protruding from pueblo floor, possibly in New Mexico or Arizona, circa 1980. 1 folder.
Scope and Contents

Cataloger supplied title.

Physical Description

1 folder26 x 21 cm.

Materials Viewable Online
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Malincay, Stanley T.. Pomo dancer, circa 1980. 1 folder.
Physical Description

1 folder40 x 31 cm.

Materials Viewable Online
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Little Turtle, Carm. Wishing well, circa 1980. 1 folder.
Scope and Contents

Hand colored.

Physical Description

1 folder36 x 28 cm.

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Hall, Douglas Kent.. 108 year old Hopi man, Arizona, 1969-1970. 1 folder.
Scope and Contents

Mounted and matted. Written on verso: "3." Title provided by photographer.

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder33 x 24 cm.

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Hall, Douglas Kent.. Bringing the goats, Navaho Reservation, 1969-1970. 1 folder.
Scope and Contents

Title provided by photographer. Written on verso: "5."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder18 x 32 cm.

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Hall, Douglas Kent.. Navaho man near Lukachukai, Arizona, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "8."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder20 x 30 cm.

Materials Viewable Online
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Hall, Douglas Kent.. Two cultures, Santa Clara Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "9."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder19 x 29 cm.

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Hall, Douglas Kent.. Girl and dog, Taos Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "15."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder23 x 32 cm.

Materials Viewable Online
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Hall, Douglas Kent.. Woman, Taos Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "16."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder23 x 33 cm.

Materials Viewable Online
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Hall, Douglas Kent.. Summer shelter, Navaho Reservation, Arizona, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "17."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder22 x 32 cm.

Materials Viewable Online
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Hall, Douglas Kent.. Feast day procession, Picuris Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "23."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder21 x 32 cm.

Materials Viewable Online
  1. View digital content
Hall, Douglas Kent.. Navaho medicine man, Arizona, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "24."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder31 x 26 cm.

Materials Viewable Online
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Hall, Douglas Kent.. Hopi Woman, First Mesa, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "31."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder33 x 25 cm.

Materials Viewable Online
  1. View digital content
Hall, Douglas Kent.. Aspen dancers, Picuris Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "36."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder21 x 23 cm.

Materials Viewable Online
  1. View digital content
Hall, Douglas Kent.. Aspen dancer, Picuris Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "37."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder33 x 25 cm.

Materials Viewable Online
  1. View digital content
Hall, Douglas Kent.. Aspen dancers, Picuris Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "38."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder21 x 30 cm.

Materials Viewable Online
  1. View digital content
Hall, Douglas Kent.. Aspen dancer, Picuris Pueblo, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer. Mounted and matted. Written on verso: "39."

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder21 x 30 cm.

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Hall, Douglas Kent.. Procession from the arroyo, Picuris, New Mexico, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer.

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder52 x 41 cm.

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Hall, Douglas Kent.. Generations, Navaho, Arizona, 1969-1970. 1 folder.
Scope and Contents

Title supplied by photographer.

Hall, Douglas Kent.
Biographical / Historical

Douglas Kent Hall was born on December 12, 1938, in Vernal, Utah, a rural community approximately two hundred miles from Salt Lake City. Hall spent his youth in Utah on a family farm where he developed a deep interest in the world of cowboys and rodeo from a very young age. He began writing while in high school and went on to study Creative Writing at a number of institutions before earning his BA in English at Brigham Young University in 1960. Hall then received his MFA from the Writer's Workshop at the University of Iowa in 1964, and began teaching.

In 1965, Hall began experimenting with photography and he studied technique for the next two years. Some of Hall's earliest work is the result of his photographing his poet and writer friends while teaching at the University of Portland from 1964-1967. Freelance photography soon proved lucrative and in 1967 he began photographing for promotional and advertising companies and contributing text to magazines. That same year, Hall left academia and began a tour of Europe, later residing in London. He returned to the United States in 1969 and settled in New York City in 1971, where he had his first photography exhibition at the Whitney Museum of American Art in 1974.

Hall's continuing interest in creative writing defined most of his early career and he published four novels and six photography books in the 1970s. Not limited to books, Hall also wrote an Academy Award-winning documentary about rodeo (his longtime interest) and a number of other unproduced screenplays. His novels from this time were often autobiographical and centered around his rural Mormon-influenced childhood, while the photography books explored subcultures to which Hall found himself drawn or incidentally introduced as an adult, such as rock and roll, bodybuilding, and prison life.

In 1977, Hall relocated from New York City to New Mexico, a move that would influence the next thirty years of his work. His subsequent proximity to the American southwest and border region, with its local environs and people, resulted in at least ten major publications and projects from the 1980s through the 2000s. As many if not more unpublished photography projects were also developed in this time, often based on travel to Russia, Japan, England, Brazil, and Australia.

Hall continued to photograph, travel, write, and exhibit up until his death. Douglas Kent Hall died on March 30, 2008. He was survived by his wife Dawn and son Devon.

Physical Description

1 folder48 x 41 cm.

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McNeil, Larry (1950). Yupic Eskimo woman weaving a basket, circa 1981. 1 folder.
Scope and Contents

Title supplied by catalog The photograph and the American Indian.

Physical Description

1 folder27 x 35 cm.

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Keegan, Marcia.. Nambe dancer, circa 1985. 1 folder.
Scope and Contents

In color.

Physical Description

1 folder34 x 50 cm.

Materials Viewable Online
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Steltzer, Ulli. Wedding feast at Vivian Shula's house, Hano, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder26 x 35 cm.

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Steltzer, Ulli. Albert Begaye with grandchild at summer home near Sanostee Trading Post, circa 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Walpi, 5 a.m., 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder31 x 28 cm.

Steltzer, Ulli. Faye Arachoya at Hano, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 26 cm.

Materials Viewable Online
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Steltzer, Ulli. Faye Arachoya, Hano, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Feet of Ann Lewis Hansen mixing clay for potting, Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 34 cm.

Materials Viewable Online
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Steltzer, Ulli. Laura in the piki house, Hano, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 27 cm.

Materials Viewable Online
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Steltzer, Ulli. Charles Loloma in his workshop on Third Mesa, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder31 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Harvest dance, Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Harvest dance, Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Geneva Honani and Mollie Talas in piki house in Shungopavi, Second Mesa, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder30 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Santa Clara Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Hasteen Furhat (Navajo), Dinnebeto Trading Post near Oraibi, circa 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Mr. Poola, father of Michell Poola, 1969, died 1970, falling off First Mesa, owner of Eagle House, circa 1970. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder27 x 30 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board.

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 30 cm.

Materials Viewable Online
  1. View digital content
Steltzer, Ulli. Francisco Augustine McCartys? near Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Francisco Augustine McCartys? near Acoma, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

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Steltzer, Ulli. Mrs. Jesse Biakeddy from Tuba City at Dinebitto Trading Post, mother is Ruby, Baby is Colleen, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Jesse Biakeddy from Tuba City at Dinebitto Trading Post, mother is Ruby, Baby is Colleen, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Wesley Chillie (Navajo), Dinnebito Trading Post, Oraibi, Arizona, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Wesley Chillie (Navajo), Dinnebito Trading Post, Oraibi, Arizona."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Mary Hystia at Acoma, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mary Hystia at Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder30 x 28 cm.

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Steltzer, Ulli. Harvest dance, 1969, Santa Clara, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mary Hystia at Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

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Steltzer, Ulli. Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Steltzer, Ulli. Mrs. Marie Chino, potter, Acoma, N.M., 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Marie Chino, potter, Acoma, N.M., 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder29 x 28 cm.

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Steltzer, Ulli. Mrs. Marie Chino of Acoma at Santa Fe Market, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Marie Chino of Acoma at Santa Fe market."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Picuris Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Picuris Pueblo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder26 x 28 cm.

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Steltzer, Ulli. Geneva Honani in piki house in Shungopavi, Second Mesa, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Geneva Honani in Piki House in Shungopavi, Second Mesa."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Faye Arachoya at her old hourse in the plaza at Hano, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Faye Arachoya at her old hourse in the plaza at Hano, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder27 x 27 cm.

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Steltzer, Ulli. Acoma, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Jesus Romero, Picuris Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Jesus Romero, Picuris Pueblo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 27 cm.

Materials Viewable Online
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Steltzer, Ulli. Taos man at Picuris, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Taos man at Picuris, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 24 cm.

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Steltzer, Ulli. Mrs. Grace A. Begaye weaving at her summer home, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Grace A. Begaye weaving at her summer home, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 28 cm.

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Steltzer, Ulli. Abram Jose Routzen, Acoma, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Abram Jose Routzen, Acoma."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Navajo boy, Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Navajo boy, Monument Valley, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Hanging corn, Mrs. Vivian Shula, Hano, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Hanging corn, Mrs. Vivian Shula, Hano, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Grace A. Begaye (Navajo) near Sanostee Trading Post, New Mexico, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Grace A. Begaye (Navajo) near Sanostee Trading Post, New Mexico."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Mrs. Victor Masayesva shelling corn near Second Mesa, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Victor Masayesva shelling corn near Second Mesa."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 28 cm.

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Steltzer, Ulli. Marie Chino [and] Lucy Lewis at Acoma, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Marie Chino, Lucy Lewis at Acoma."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Mrs. Victor Masayesva blessing the corn before planting at the ranch near Second Mesa, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Victor Masayesva blessing the corn before planting at the ranch near Second Mesa, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Saya (Alfonso Ortiz' grandmother) from San Juan Pueblo at Picuris for dances, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Saya (Alfonso Ortiz' grandmother) from San Juan Pueblo at Picuris for dances, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Ethel, mother of Vivian Shula, grandmother of Nellie Kimale, Hano, 1969, died the same year, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Ethel, mother of Vivian Shula, grandmother of Nellie Kimale, Hano, 1969, died the same year."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 27 cm.

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Steltzer, Ulli. Mrs. Conception Howeya and ten grandchildren McCartys? near Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Conception Howeya and ten grandchildren McCartys? near Acoma, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder33 x 28 cm.

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Steltzer, Ulli. Santa Fe Market, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Santa Fe market, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Zuni, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Zuni, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 28 cm.

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Steltzer, Ulli. Man at Santa Fe Market, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Man at Santa Fe market, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Acoma, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Juanita Louis, Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Juanita Louis, Acoma, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder36 x 28 cm.

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Steltzer, Ulli. Mitchell and Virginia Poola, Polacca, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mitchell and Virginia Poola, Polacca, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 24 cm.

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Steltzer, Ulli. Lucy Lewis in her house at McCartys, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Lucy Lewis in her house at McCartys, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Acoma cemetery guardians, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Acoma cemetery guardians, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Corn dance, Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Corn dance, Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 28 cm.

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Steltzer, Ulli. Laguna Pueblo, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Laguna Pueblo, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder25 x 35 cm.

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Steltzer, Ulli. Hano, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Hano, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Sheep herder behind First Mesa, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Sheep herder behind First Mesa, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

Materials Viewable Online
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Steltzer, Ulli. Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Acoma, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Steltzer, Ulli. Erecting television antenae, Mitchell Poola house, Polacca, Arizona, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Erecting television antenae, Mitchell Poola house, Polacca, Arizona, 1970" and "Leo at antenae."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder29 x 28 cm.

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Steltzer, Ulli. Harlan Mahle with Vanessa Nevayaktewa, granddaughter of Emma Hyah, at Walpi, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Harlan Mahle with Vanessa Nevayaktewa, granddaughter of Emma Hyah, at Walpi, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Isleta Elementary School (BIA school), 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Isleta Elementary School (BIA school), 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

Steltzer, Ulli. Chorus at Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Chorus at Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Geneva Honani emerging from piki house, Shungopavi, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Geneva Honani emerging from Piki House, Shungopavi, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder26 x 33 cm.

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Steltzer, Ulli. Beth Sakeva and sisters, Hano, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Beth Sakeva and sisters, Hano, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Steltzer, Ulli. Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Monument Valley, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder24 x 35 cm.

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Steltzer, Ulli. Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Monument Valley, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Cherokee girl, professional rider at Many Farms, New Mexico, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Cherokee girl, professional rider at Many Farms, New Mexico, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder27 x 28 cm.

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Steltzer, Ulli. Santa Fe Market, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Santa Fe market, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 28 cm.

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Steltzer, Ulli. Anne Lewis Hansen at McCartys near Acoma, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Anne Lewis Hansen at McCartys near Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Lucy Lewis visiting Santana Sanchez, wife of Syme Sanchez, store owner of Acoma, at Acoma, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Lucy Lewis visiting Santana Sanchez, wife of Syme Sanchez, store owner of Acoma, at Acoma, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Navajo woman near Many Farms, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Navajo woman near Many Farms, mother of beautiful woman spinning in other photo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Governor of Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Governor of Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Terraces on Third Mesa, Hotevilla, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Terraces on Third Mesa, Hotevilla, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder25 x 25 cm.

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Steltzer, Ulli. Acoma, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Acoma, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder27 x 35 cm.

Materials Viewable Online
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Steltzer, Ulli. At Santa Clara, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "At Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Billie Keeto Yazzie, sheep herder of Mrs. Robbins [sic] mother, Fort Defiance, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Billie Keeto Yazzie, sheep herder of Mrs. Robbins [sic] mother, Fort Defiance, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Roy Lunasee, Zuni Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Roy Lunasee, Zuni Pueblo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 28 cm.

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Steltzer, Ulli. Mrs. Thomas Banyacya, New Oraibi, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Thomas Banyacya, New Oraibi."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Harvest dance, Santa Clara Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Harvest dance, Santa Clara Pueblo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

Materials Viewable Online
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Steltzer, Ulli. Baking bread on First Mesa, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Baking bread on First Mesa, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

Materials Viewable Online
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Steltzer, Ulli. Tewa women baking bread at Hano, July 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Tewa women baking bread at Hano, July 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Hopi women pounding corn for wedding meal, First Mesa, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Hopi women pounding corn for wedding meal, First Mesa, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 35 cm.

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Steltzer, Ulli. Charlie Talawepi (Lightning), Moencopi, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Charlie Talawepi (Lightning), Moencopi, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder28 x 36 cm.

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Steltzer, Ulli. Old Oraibe, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Old Oraibe, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder16 x 36 cm.

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Steltzer, Ulli. Buffalo dancer, Santa Clara, 1969, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Buffalo dancer, Santa Clara, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 28 cm.

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Steltzer, Ulli. Chorus at Picuris, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Chorus at Picuris, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Mrs. Emma Hyuh at Walpi, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Emma Hyuh at Walpi, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Nestora Guttierez, age 93, Santa Clara, potter, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Nestora Guttierez, age 93, Santa Clara, potter."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Syme Sanchez, store keeper, with grandchild, Acoma, circa 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Syme Sanchez, store keeper, with grandchild, Acoma."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 27 cm.

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Steltzer, Ulli. Mrs. Geneva Honanie stacking piki in piki house, Shungopavi, Second Mesa, 1970, 1970. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Mrs. Geneva Honanie stacking piki in Piki House, Shungopavi, Second Mesa, 1970."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 28 cm.

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Steltzer, Ulli. Picuris Pueblo, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Picuris Pueblo, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder35 x 27 cm.

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Steltzer, Ulli. Walpi, First Mesa, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Walpi, First Mesa, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder24 x 35 cm.

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Steltzer, Ulli. Navajo woman, Monument Valley, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Navajo woman, Monument Valley, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder34 x 28 cm.

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Steltzer, Ulli. Hopi woman from Sichomovi, First Mesa, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Hopi woman from Sichomavi, First Mesa, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder24 x 19 cm.

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Steltzer, Ulli. Deer dancer, Picuris, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Deer dancer, Picuris, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder24 x 19 cm.

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Steltzer, Ulli. Santa Fe Market, 1969, 1969. 1 folder.
Scope and Contents

Mounted on board. Written on verso: "Santa Fe Market, 1969."

Steltzer, Ulli
Biographical / Historical

Born in Frankfurt, Germany, in 1923, Ulli Steltzer emigrated to the United States in 1953 with her two children. After teaching music and developing photographs in Massachusetts and New York, Steltzer moved to Princeton in 1957 to accept a job as a professional photographer for the Princeton Packet, whose Tulane Street studio she worked from for much of the next two decades. In addition to taking portraits of many prominent Princeton intellectuals and visitors from the late 1950s through the early 1970s, she also made frequent trips across the United States in her red Volkswagen to photograph and interview African American families in the South, as well as Hopi, Navajo, and Pueblo peoples in New Mexico and Arizona. In 1972, Steltzer relocated her studio to Vancouver, British Columbia, where she befriended several prominent Haida artists, including carvers Robert Davidson and Bill Reid, who would become her frequent collaborators. Steltzer documented the art, culture, and traditions of the Haida and other coastal tribes, as well as the Inuit, with whom she lived for several months. Traveling widely throughout the Americas and Asia during her long career, Steltzer also documented life in Southern California, Guatemala, Cuba, China, and India, with a recurrent focus on immigrant communities and native peoples. Her photographs have been exhibited widely in the United States, Canada, and Europe, and have appeared in at least a dozen photographic books and collaborations.

Physical Description

1 folder25 x 20 cm.

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Steltzer, Ulli. Molly Talas at market in Gallup, 1969, 1969. 1 folder.