Search Results: Titles starting with S from Daniel / Oliver Gallery

Sand and pigment on board; 12 x 9 inches; signed recto.

Sand painting with numerous Southwestern images including a snake, turtle, and sun, as well as two depictions of the lute-playing fertility deity Kokopelli, one traditional and the other the more modern inception of the character.David was born on the Navajo Reservation in 1926 at Canyon de Chelly, Arizona, the son of a Najavo mother and Euro-American Missionary father. He was educated at the Santa Fe Indian School, where he was taught by Dorothy Dunn. He initially struggled with his mixed race identity, falling into alcoholism early in life, and eventually left the reservation and lied about his age to join the merchant marines. He enlisted in the US Army, gathering information and relaying it stateside in his native language. He was captured, interrogated, and tortured but his life was ultimately spared by a German officer whom he had befriended years earlier during his time with the merchant marines. When he was rescued by the allies, he was… Read More

Sixth-plate daguerreotype; Accompanied by the original identification slip and research notes.
Sixth plate daguerreotype, with some slight fading and scratches, professionally cleaned and recased in a modern case in 1992, with receipts for the restoration provided. Accompanied by a period inked note reading: Dwiouski / (Showsky for Hannah) / Ischunuongwandt / (Tunangwant).
A very early image of an indigenous subject in a Hudson's Bay Company blanket. A note accompanying the photograph identifies the sitter as "Dwiousky / Showsky for Hannah / Ischunuongwandt / Tunungwant." This would identify the sitter as Seneca, from the area close to the Tunungwant Creek - also known as the Tuna Creek - near the Pennsylvania / New York border in the Bradford area. The image has additional significance for its portrayal of a Hudson Bay Company blanket, many of which were traded to indigenous traders in in Canada as part of the company's fur trade efforts. The Seneca traded with other tribes and it is possible the… Read More

Albumen print; 4 x 2 1/2 inches; With Whitney's printed title recto, and St. Paul backmark verso. The 1851 Treaty of Traverse des Sioux forcibly displaced the Dakota people from their ancestral lands in Iowa and Minnesota, relocating them to territories along the upper Minnesota River. This relocation led to dire circumstances, including inadequate hunting grounds, crop devastation by cutworms, breaches of the treaty terms, and corruption among Indian agents. These harsh conditions ultimately sparked a rebellion against the treaty. In August of 1862, the Dakota initiated attacks on white settlements within the Minnesota River valley, resulting in the tragic loss of hundreds of lives. General John Pope's forces effectively quelled the uprising on September 2nd. Subsequently, on December 26, 1862, thirty-eight Dakota leaders faced execution in what remains the most extensive one-day execution in U.S. history.

Silver print, 3 1/2 x 5 1/2 inches, with photographer's credit stamp verso.
This captivating image shows a pensive John Osborne, one of Britain's preeminent Angry Young Men of the 1950s, doubly super-imposed over a marquee for his most-celebrated work, "Look Back in Anger," playing at the Royal Court Theatre. The photo was taken by Mark Gerson, who specialized in literary portraits.

Photo-lithographs (10); Each 3 1/2 x 5 1/2 inches; With original decorative envelope.
Uncommon group of postcards showing artifacts held in the Museum of the American Indian, Heye Foundation, New York City (now part of the National Museum of the American Indian). Included is the original envelope, with the design taken from an Arapahoe packing case or Parfléche.
A number of the images are credited to photographer William C. Orchard.

Silver prints (24); Each 5 1/2 x 3 1/2 inches; Some with "Nu Way Photo Shoppe" stamp verso, one with Hicks Photo Studio embossed credit stamp, some with subject identification recto or verso.
Collection of real photo postcard studio-portraits of the African American community of Miami, Florida in the 1920s-40s.
Eighteen of the photographs are from the "Nu Way Photo Shoppe," a commercial studio located at 939 N.W. 2nd Avenue in the Overtown neighborhood of Miami.The firm was opened by David Jenkins in the early 1940s and catered to a Black clientele. A 1942 issue of "The Crisis" advertises Jenkins' work in Overtown, and notes that many of the photographs illustrating the issue were shot by his firm. Included in the collection are portraits of two young women posed proudly in her graduation uniform, an identified soldier alongside his sister, dapper men in pinstripe suits, two-tone shoes and panama hats, and equally sharp-dressed women.
There are six other photographs from other Miami-area studios. One,… Read More