Cataloger supplied title.

1 folder10 x 7 cm.

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

1 folder9 x 5 cm.

Cataloger supplied title. Tintype in original black paper mount.

1 folder7 x 5 cm.

Cataloger supplied title.

1 folder6 x 4 cm.

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

1 folder7 x 4 cm.

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

1 folder9 x 11 cm.

Cataloger supplied title.

1 folder3 x 11 cm.

Cataloger supplied title.

1 folder3 x 11 cm.

Cataloger supplied title.

1 folder3 x 11 cm.

Cataloger supplied title.

1 folder3 x 11 cm.

Cataloger supplied title.

1 folder3 x 11 cm.

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

1 folder9 x 10 cm.

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

1 folder33 x 26 cm.

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.

1 folder7 x 7 cm.

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.

1 folder7 x 7.5 cm.

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

1 folder7 x 7 cm.

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.

1 folder7 x 6 cm.

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.

1 folder6 x 7.5 cm.

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.

1 folder7 x 7.5 cm.

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.

1 folder7 x 7.5 cm.

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.

1 folder7 x 6 cm.

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.

1 folder7 x 7.5 cm.

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.

1 folder20 x 25 cm.

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.

1 folder20 x 12.5 cm..

"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.

1 folder20 x 25 cm.

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.

1 folder20 x 12.5 cm.

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.

1 folder20 x 12.5 cm.

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.

1 folder20 x 25 cm.

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

1 folder12.5 x 20 cm.

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

1 folder20 x 12.5 cm.

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.

1 folder20 x 12.5 cm.

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.

1 folder12.5 x 20 cm.

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

1 folder26 x 34 cm.

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

1 folder22 x 29 cm.

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

1 folder20 x 25 cm.

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.

1 folder36 x 37 cm.

Mounted on board. Cataloger supplied title.

1 folder22 x 27 cm.

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.

1 folder27 x 35 cm.

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.

1 folder27 x 35 cm.

Cataloger supplied title.

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.

1 folder27 x 35 cm.

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

1 folder26 x 34 cm.

Mounted on 33 x 41 cm. board.

1 folder24 x 29 cm.

Mounted on 34 x 41 cm. board.

1 folder25 x 29 cm.

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

1 folder14 x 6 cm.

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

1 folder17 x 12 cm.

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."

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

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.

1 folder23 x 15 cm.

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

1 folder24 x 19 cm.

1 folder31 x 21 cm.

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

1 folder9 x 31 cm.

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

1 folder9 x 31 cm.

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

1 folder11 x 29 cm.

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

1 folder16 x 21 cm.

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

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.

1 folder20 x 25 cm.

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

1 folder44 x 41 cm.

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.

1 folder24 x 20 cm.

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

1 folder19 x 25 cm.

Cataloger supplied title.

1 folder25 x 17 cm.

Cataloger supplied title.

1 folder35 x 20 cm.

Cataloger supplied title.

1 folder30 x 20 cm.

Cataloger supplied title.

1 folder25 x 17 cm.

Cataloger supplied title. Possibly by Lummis.

1 folder31 x 26 cm.

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

1 folder20 x 25 cm.

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

1 folder31 x 26 cm.

Mounted on 26 x 31 cm. board.

1 folder19 x 23 cm.

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

1 folder31 x 26 cm.

Cataloger supplied title.

1 folder36 x 28 cm.

Cataloger supplied title. Hand colored.

1 folder34 x 25 cm.

Cataloger supplied title.

1 folder30 x 28 cm.

Cataloger supplied title.

1 folder30 x 28 cm.

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

1 folder31 x 26 cm.

Cataloger supplied title.

1 folder28 x 27 cm.

Cataloger supplied title.

1 folder21 x 36 cm.

Cataloger supplied title.

1 folder35 x 22 cm.

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

1 folder20 x 25 cm.

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

1 folder21 x 25 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder36 x 28 cm.

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

1 folder36 x 28 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder36 x 28 cm.

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

1 folder36 x 28 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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

1 folder28 x 36 cm.

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).

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.

1 folder36 x 28 cm.

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).

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.

1 folder36 x 28 cm.

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).

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.

1 folder28 x 36 cm.

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).

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.

1 folder36 x 28 cm.

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).

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.

1 folder36 x 28 cm.

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).

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.

1 folder28 x 36 cm.

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).

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.

1 folder28 x 36 cm.

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).

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.

1 folder28 x 36 cm.

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).

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.

1 folder36 x 28 cm.

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).

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.

1 folder28 x 36 cm.

Photograph mounted and matted.

1 folder32 x 22 cm.

Cataloger supplied title. Photograph mounted and matted.

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.

1 folder30 x 20 cm.

Photograph mounted and matted.

1 folder32 x 22 cm.

Mounted on 29 x 37 cm. board.

1 folder15 x 24 cm.

Mounted on 27 x 33 cm. board.

1 folder20 x 25 cm.

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

1 folder21 x 28 cm.

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."

1 folder16 x 22 cm.

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.

1 folder16 x 22 cm.

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

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.

1 folder35 x 27 cm.

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

1 folder28 x 36 cm.

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

1 folder35 x 24 cm.

Printed 1981.

1 folder36 x 28 cm.

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).

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.

1 folder36 x 28 cm.

Cataloger supplied title. Mounted and matted.

1 folder21 x 21 cm.

Cataloger supplied title.

1 folder17 x 25 cm.

Cataloger supplied title. In color.

1 folder36 x 28 cm.

Printed on recto: "707." Preservation.

1 folder21 x 28 cm.

Cataloger supplied title. Color tinted.

1 folder35 x 28 cm.

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

1 folder31 x 18 cm.

Cataloger supplied title. Color tinted.

1 folder21 x 26 cm.