JA Du LAC Attrib Set of Lrg Portrait Oratones/Goldtones c1972 WARRIOR- EAGLE ELK

Description

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OUR QUALITY & RARITY CODES:
QUALITY CODE:
(Note: Older paintings or original artwork of any kind may be rated somewhat differently based on the codes below, due to the normal aging properties of the different mediums used (ex: normal paint cracquelure with older paintings, toning of paper, foxing on older pieces, etc...).
·
Excellent+
Museum Quality, with no damage or visible imperfections.
·
Excellent
Almost perfect given the age w/minimal imperfections,minimal blemishes.
·
VeryGood
Above average w/minor imperfections given the age, or minor blemishes.
·
Good
Average imperfections given the age, or moderate imperfections or wear.
·
Fair
Below average with more imperfections given the age, or with more wear.
·
BelowGrade
With clear imperfections and/or possibly in need of minor restoration.
·
BelowGrade-
With clear imperfections and/or possibly in need of serious restoration.
RARITY CODE:
·
Rare++
Unique, one of a kind, or an original on the open market.
·
Rare+
Very uncommon and/or very difficult to find on the open market.
·
Rare
Uncommon and/or moderately difficult to find on the open market.
·
Popular
Frequently encountered, common and easy to find on the open market.
All Measurements Are In Inches; Height Precedes Width.
Note: All items are sold "AS IS/AS DESCRIBED", to the best of our knowledge, research and ability.
ITEM DESCRIPTION:
Here is a Fantastic Set of Two Vintage Circa 1972 ‘Large Format’ Goldtone/Orotone & Sepia (
AKA Curt-Tone
) Photographic
Reproduction
Gelatin Silver Portrait Prints of a Head & Shoulders and Side Profile View of the well-known Native American Oglala Lakota Sioux Indian Warrior, “Eagle Elk” (1851-1945), after the original glass plates negatives of famous photographer, ‘Edward Sheriff Curtis’ (American, 1868-1952). From research, I’m pretty much 100% sure our set of Prints were printed & published by the listed photographer, ‘Jean-Antony du Lac’ (French-American, 1929-2002), from his small body of Orotone/Goldtone reproductions of Native American Indians he published in the 1970’s-80’s while residing in San Francisco, CA after the original glass plates negatives of ‘Edward Sheriff Curtis’ (American, 1868-1952). Du Lac called the series, ‘The Curtis Project’. As such we are attributing the prints to du Lac—
though his name or signature does not appear on our prints
. And from research, I’m also pretty much 100% sure the images are of the famous Lakota Sioux warrior ‘Eagle Elk’ whom Curtis originally photographed in a series of portraits in 1907. This set is a consignment for one of our clients and will be sold a ‘As Is’ and ‘As Described’ in their as found condition.
Please read all the info below in our complete Item Description regarding the photographer/publisher bio, Curtis Goldtone history, client history of the prints, Eagle Elk brief bio, as well as Prints info, size & conditions of each print in the set—Thank you.
Brief Photographer/Publisher Bio:
Jean-Antony du Lac (French-American, 1929-2002)
sometimes listed as Jean-Anthony du Lac
, was born in France and was raised in New York City. In 1957, he moved west to San Francisco, CA and as an accomplished photographer some of his published credits include:
Life Magazine
and the
San Francisco Examiner
. He spent many years mastering and reproducing Edward S. Curtis’ Orotone/Goldtone (
AKA “Curt-Tones”
) portrait images of North American Indians which he called ‘The Curtis Project’, as well as reproducing photographic prints from many of Curtis’ copperplate gravures—
which were essentially individually crafted photographic prints of gravures from the original photographs
. The address of The Curtis Project was Box 155, San Francisco, CA 94101, which appeared stamped on some of du Lac’s prints along with his copyright (not on our Prints). Du Lac reproduced his Orotones in a limited quantity, and in some instances his prints are not clearly identified as such or easily delineated from the antique Curtis ones, save for the type of modern paper stocks he printed them on. Some of du Lac’s Orotones were even hung on the walls of the Smithsonian as well as the White House during the Carter and Reagan administrations. As a preservationist, du Lac’s reproduction of noted photographer, Eadweard Muybridge’s (English, 1830-1904) photographic mammoth plate series of albumen images, “Panorama of San Francisco from California Street Hill” (1877), still hangs in one of San Francisco’s prominent hotels. In addition, du Lac was also instrumental in organizing ‘Proposition P’ in the early 1970s, which sought to preserve the old San Francisco skyline by limiting the height of all downtown skyscrapers and was the chairman of the Citizens Committee for the Reform of the War Memorial Board of Trustees in 1979. He passed away on January 15, 2002 in San Francisco, CA from natural causes. The majority of his life was a mystery, and his obituary stated that he left behind no material possessions, save for a single key to a solitary padlock, the location of which is unknown. He was married to Diana du Lac and was survived by three children to include: Christian du Lac (Palo Alto, CA), Joshua Freedom du Lac (Sacramento, CA) and Sascha du Lac (Del Mar, CA), as well as one granddaughter, Ariella. There was a private memorial service held on April 27, off the coast of Marin County, CA.
Edward S. Curtis Goldtone/Orotone History & Additional Photographer/Publisher info:
Though Curtis didn’t invent the Orotone photographic process, he did refine and master the technique of creating Orotones, which were photographic positive images suspended on glass plates, using a gelatin silver emulsion, from his original projected negatives. The highlights and shadows, however, could not be seen well unless there was some sort of backing on the image. So, after development, Curtis would ‘back’ them with a mixture of banana oils and gold-hued bronzing powders to create the sepia Goldtone effect which he spread over the dried emulsion and then would bake the glass so all the chemicals bonded together. When asked about his Curt-Tone process, Edward S. Curtis replied,
“The ordinary photographic print, however good, lacks depth and transparency, or more strictly speaking, translucency. We all know how beautiful the stones and pebbles in the limpid brook of the forest where the water absorbs the blue of the sky and the green of the foliage, yet when we take the same iridescent pebbles from the water and dry them they are dull and lifeless, so it is with the ordinary photographic print, but in the Curt-Tones all the transparency is retained and they are as full of life and sparkle as an opal.”
Curtis also made photogravures of Eagle Elk after some of his photographs taken in 1907.
Client Backstory & Photo Prints Info:
The story as told to us by our client about how they acquired these prints is: In the early 1970’s, the husband was working for Eastman Kodak out of their downtown Portland, OR Business Systems Marketing Division (BSMD) where he was a sales representative for the entire state of Oregon at the time, selling a wide range of business-related products like microfiche film, copiers etc., and his boss presented him with the set of prints as a sales bonus at a corporate awards dinner in 1972. Many of du Lac’s prints on the market bear his signature in pencil typically written as such, ‘Printed by Jean-Antony du Lac’, and have the limited edition number on them and sometimes dated as well, and from research, it appears he printed many (or all) of them in limited editions of 300. There is however, 3” x 5” paper labels on the backs of each of our mounted Prints that feature the distributer name, company address, ltd. ed. info, the title with glass plate info, as well as the print edition number (which match for each print, No. 28). The title they give for this portrait is incorrect for this portrait image(s) from my research, and reads:
“V.E. Enterprises, 25 N. W. 88th, Portland, Oregon 97229, Limited Edition print of Chief Irontail from the original glass plate of the Buffalo nickel. Print No. 28”
(28 written in blue ball point pen/
AKA Indian Head nickel
). Through my research I was able to find that this image is not Chief Irontail (
since the info & image don’t match or add up
), but whom I believe is the well-known Oglala Lakota Sioux warrior, Eagle Elk, who was not involved with being a model for the Buffalo Nickel. Our Prints are on a nice Kodak photographic paper and were drymounted down to a stiff ivory-colored matboard a long time ago. The one print (facing front) is lifting a little off the backing stock along its bottom edge and I could barely see the faint 3-line Kodak stamp,
which repeats over the entire backside of the prints
, and reads: ‘This Paper, Manufactured, By Kodak’—
and that specific paper was known to have been used during the 1960’s-70’s
.
Brief Bio on Eagle Elk:
Eagle Elk (1851-1945) Ich-hahka-Wam bali (
AKA He Xa Wan ba li
), was a notable Oglala Lakota (Teton) Sioux warrior born in the fall of 1851 near the confluence of the White and Missouri rivers in South Dakota. He was the son of Long Whirlwind and Pretty Feather Woman (
AKA Good Plume
) and was purportedly a
‘cousin’
of the renowned Native American Oglala Sioux Indian and Lakota war leader, Crazy Horse (c.1840-1877). Explaining this relationship, Eagle Elk stated that Crazy Horse,
"…chose to call me 'cousin' (tahansi) from the marriage of his mother,"
and added,
"My father married Crazy Horse's aunt."
Although he was the son of Yankton Nakota mother, he was raised among his father’s tribe, the Oyukhpe Oglalas (
People who lay down their packs
) who were a powerful band of the Smoke People (Northern Oglalas) who moved into the Powder River region in the late 1850’s. Eagle Elk had three older sisters, an older brother (killed in a war) and a younger brother.
Eagle Elk first went into battle at the age of fourteen and soon became known for his bravery in battles and was a skilled marksman with a rifle. He was also held in high regard for his prowess in hunting and as a scout which earned him the reputation of a top specialist. In addition, he was a member of the Last Child Society (
Hoksi Hakakta
), a 40-member military lodge society whose warrior members were the last-born sons of prominent families. The lodge was directed under the leadership of his older cousin, Crazy Horse and they achieved a reputation of fearlessness, with many of its young men serving as his bodyguard. Crazy Horse would pick the last child in the family and if they did great deeds or something very brave, then they would have greater honor than the first child. Eagle Elk fought in many well-known battles and fights, to include: The infamous Fetterman Fight of 1866 (
AKA Battle of the Hundred-in-the-Hands
), as well as fought against Major Marcus Reno’s command and later in the well-known Battle of the Little Bighorn in 1876 in the final surround of Custer’s immediate command (
AKA Battle of the Greasy Grass or Custer’s Last Stand
) in which Crazy Horse and Sitting Bull were the leaders. He also fought under Crazy Horse against General Miles at Tongue River in 1877, and participated in many battles against the Crows, Shoshones, Blackfeet, Shaheas, Hoheys, Omahas, and Utes, to name only a few—winning many honors over the course of his life. Eagle Elk later shared his thoughts about the Battle against Custer while residing at the Pine Ridge Agency in South Dakota in 1939,
“I was about 25 the summer we fought Long Hair and I still believed we could drive the white men from our country. I’m a little sad yet about that fight, although it was our finest victory.”
Eagle Elk married a Sans Arc woman in 1871 and after the surrender of the Sioux, his family lived in the Wounded Knee district on the Pine Ridge Agency in South Dakota. He was also known to have been a policeman at the time of the Wounded Knee Battle in 1890 and was later photographed in 1907 by the famous listed photographer, Edward S. Curtis (American, 1868-1952), whose portrait photographs of Eagle Elk can be found in the permanent collection of the Library of Congress in the Photo, Print, Drawing section of their site. Eagle Elk lived out the rest of his days at the Pine Ridge Agency and died in 1945 at the age of ninety-four.
(Compiled & rewritten in parts by Mark Strong of Meibohm Fine Arts, East Aurora, NY)
From a December 9, 2016 online Airbus Helicopters Inc. press release and also reported on
The Daily Campus
site, a special painting was created by Dallas artist David Gail Smith that honored Eagle Elk. The gouache and watercolor painting titled, “The Spirit of the Lakota,” was commissioned by Airbus Helicopters Inc. (AHI) of Grand Prairie, TX to capture the spirit of the UH-72A Lakota helicopter and the heritage of the Native American tribe for which it was named. The painting depicts a towering image of the Lakota warrior Eagle Elk as part of the open sky and mountains, watching over the Earth, as well as a Lakota military helicopter in flight over a treeline. The process began in March of 2016, when AHI began a search for an artist to create a piece honoring both the helicopter which the company produced for the U.S. Army, and which was named for the Lakota people out of high-regard for their warrior culture. To research the subject, Smith read numerous books about Sioux and Lakota tribes, reached out to Native American experts and spent a day at the AHI headquarters in Grand Prairie viewing and snapping photos of Lakota helicopters. Leaders at AHI consulted with the Oglala Lakota Sioux Tribal Council to ensure the painting was culturally accurate and respectful. Tribal council leaders referred the company to the family of Eagle Elk whose family members were so pleased with Smith’s painting they traveled from South Dakota to Texas to meet the artist and attend the ceremony and unveiling of the painting in September of that year. Attendees included Eagle Elk’s grandson, Robert Eagle Elk and great-granddaughter Charleen Eagle Elk as well as other descendants. For decades, Eagle Elk’s descendants shared stories of his bravery in battles and prowess in hunting, yet they feared that his legacy would someday be forgotten, but the painting helped to secure his legacy. Robert Eagle Elk blessed the helicopter in his native tongue and stated at the unveiling,
“We are so proud of Eagle Elk. We always told ourselves his time would come, and now it has. I believe he is with us in spirit.”
His great-granddaughter, Charleen Eagle Elk added,
“This is an honor for our family. We are all deeply touched.”
Size & Condition of the Prints:
I will rate each print separately…
Condition of #1 The Head & Shoulders Head-on View:
The Print size itself is 19-13/16” x 15-7/8” (basically 20” x 16”) and the Mounted size is 24” x 19-15/16”. The Print is in Fair-BelowGrade Rare+ condition for its vintage age and is unsigned & undated. The Print has a Goldtone effect over the surface of the print which is most noticeably in the midtone areas but is a little more sepia-toned than the other view (#2 below), I believe from being exposed to UV light for a long time as there are several horizontal & vertical (grid) lines which are noticeable top-to-bottom on the Print,
from what appears like
it was likely stored (improperly) at some point against window blinds,
which isn’t as noticeable head-on/mostly from viewed at angle to the light
(see photo), and also has some silvering from age which is most noticeable around outer edges. There are several small surface spots in the emulsion from possibly surface moisture noticeable in the bottom 4-1/2” of the image area. There are other light surface scuffs and a few scratches here & there, as well as some dents, dings and a few nicks here & there. As mentioned previously, the Print is starting to lift a little from the bottom edges on backing board. The backing board has some surface dents & dings here & there and along its edges, as well as some corner bends and a few creases here & there, and some minimal foxing specks & spots here & there as well as some light topical soiling from age and previous storage—all of which don’t affect the photo at all.
Condition of #2 Side Profile View:
The Print size itself is 19-13/16” x 15-15/16” (basically 20” x 16”), and the Mounted size is 24” x 20-1/16”. The Print is in Good-VeryGood Rare+ condition for its vintage age and is unsigned & undated. The Print also has a Goldtone effect over the surface of the print most noticeably in the midtone areas and also has some silvering from age which is most noticeable around outer edges. There is a slight rectangle-shaped surface burn in the lower headdress area (near his neck) from the other print board 3” x 5” label of the ‘#1 Head-on view’ on its verso from laying on top of it (or pressed up against it) for the last 48 years, which is hardly noticeable except also at an angle to the light (see photo) and the image still displays well. There are only a few small surface spots in the emulsion from possibly surface moisture or du Lac’s print process itself, or was maybe on Curtis’ original glass plate? (not sure). Very minimal light surface scuffs here & there. The backing board has some dents & dings here & there along its edges, as well as some corner bends, and some extremely minimal foxing specks & spots here & there—all of which don’t affect the photo at all.
Condition Cont…
From consulting with our local paper conservator: Due to the UV damage and other previously mentioned issues, no real paper conservation or preservation work can be done to correct the damage on the Prints and they are being sold ‘As Is’ and ‘As Described’ in their current ‘As Found’ condition. The portraits still present well from head-on and due to Eagle Elk’s importance in the Native American Oglala Lakota Sioux Indian Tribe & U.S. war histories, these Prints would make the perfect addition to any historical Eagle Elk/Native American Indian or General Custer/Battle of the Little Bighorn photograph/art collection. Since the one print is lifting off of its backing board,
and since there doesn’t seem to be a lot of glue/adhesive visible
, a paper conservator might be able to possibly remove them easily from their backing stocks, but we’ll leave that up to the winning bidder to have done if they so choose. The Prints would definitely benefit from being removed from their non-archival backing stocks to help preserve them, and then they could be rematted and framed-up beautifully.
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