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Hand woven textiles. Navajo-style warp-float patterned weave belt. Navajo or Hopi. Five inch fringe at one end. At fringed end, one inch from the end is a 13" area of symmetrical and alternating blue, black, red and grey bands. Alternating bands have designs. The bands border a center strip of geometric design. Background is natural wool. Used by Hopi for ceremonial purposes per inscribed tag. 9.5 inches wide. 43 inches long.

Hand made leather suede boots. Hopi. 25 inches tall. 3.5 inches wide. 8.5 inches long.

Hand woven textiles. Woven sash. Navajo or Hopi. Made of two identical sashes sewn together at end with red and green yarn. Each identical piece has a six inch fringe on one end. One inch from the fringed end is a 9" area of symmetrical and alternating black and blue. Alternating bands have designs. The bands border a center strip of geometric design. Background is natural wool, design is dyed wool. Entire piece is bordered in red. Used by Hopi for ceremonial purposes per inscribed tag. 9.25 inches wide. 82 inches long.

Hand woven twill weave manta dress, with diamond twill end panels. Pueblo (likely Hopi). Black center panel. Purple panels on either side. 40 inches wide. 46 inches long.

Five American Indian tribes or nations claim a cultural affiliation with Rainbow Bridge. In 2009, as part of the 100th anniversary of the establishment of Rainbow Bridge National Monument, the National Park Service conducted oral history interviews with several members of each tribe.

Five American Indian tribes or nations claim a cultural affiliation with Rainbow Bridge. In 2009, as part of the 100th anniversary of the establishment of Rainbow Bridge National Monument, the National Park Service conducted oral history interviews with several members of each tribe.

A presentation to Prescott Corral of Westerners, "History of the Hopi Area", by Dr. Charles Adams, June 1, 1979, 59:53

The "Book Reviews" section features three essays. In "'The Negatives Are the Score the Prints Are the Performance," Chris Foster examines Side Trips: The Photography of Sumner W. Matteson, 1898-1908. Foster looks at the development of photography equipment, especially Kodak cameras, notes the various locations in the American West, Mexico, and Cuba that Matteson documented, and pays particular attention to Matteson's photographs of Native Americans and their culture. A photograph of a buffalo, a copy of which Matteson sent to President Theodore Roosevelt, accompanies the review and is the only illustration in the section. In "A Tribute to George E. Mowry," John Robert Greene reviews Reform and the Reformer in the Progressive Era ." Greene examines each of the essays in this tribute to George E. Mowry, a historian of the Progressive age, and finds a number of them disappointing, but he reserves special praise for an essay that provides an overview of Mowry's career and for the transcript of an interview with Mowry from 1980. John A. Gable reviews Peggy and Harold Samuels's Frederic Remington: A Biography in "Remington's West." Gable notes the importance of Remington, Theodore Roosevelt, and Owen Wister to forming Americans' view of the frontier West, and he catalogs many of Remington's illustrations, paintings, and sculptures, some of which belonged to Roosevelt. Gable pushes back against some of the criticism that the Samuels compile against Remington, and he notes Roosevelt's admiration for the artist.

The oratone is of Nampeyo, potter of Hano and member of the Arizona Women’s Hall of Fame. An oratone is glass printed photographic print that is backed by a gold colored powder that is mixed with banana oil.

“The Hopi are without doubt among the most interesting of our surviving American Indians, and one of the very few groups recently living in a state similar to that of a few hundred years ago. For the anthropologist the complexity of the ethnic elements that in the last three and a half centuries have combined to produce the modern Hopi, and the astonishing richness of their religious ceremonies, present a field crowded with opportunity. Artist and traveler are invariably entranced with the picturesque desert environment of the Hopi, with their ancient, many-storied, cliff-perched pueblos, their dramatic dances and artistic ceremonial costumes, their pleasing pottery and basketry, and no less pleasing manners” (Curtis, The North American Indian, Volume 12, page 3).

At the right stand the Antelopes, in front of the booth containing the snake-jars. The Snakes enter the plaza, encircle it four times with military tread, and then after a series of songs remarkable for their irresistible movement, they proceed to dance with the reptiles

The arrangement imitates the squash-blossom and indicates virginity. Within the last decade it has become rare, except on ceremonial occasions.

“Hopi women of East mesa are moderately good potters, and the men are skillful weavers and successful farmers” (Curtis, The North American Indian, Volume 12, page 25).

Every visitor at East mesa knows Nampeyo, the potter of Hano, whose creations excel those of any rival. Stranger wander into her house, welcome though unbidden, but Nampeyo only works and smiles. In the plate her paint-stone occupies the central foreground.

A comprehensive view of this interesting Middle Mesa pueblo. On an eminence in the middle background is Shipaulovi, and at the right, several miles distant, is Shongopavi, on another tongue of the mesa.

The house-walls are about eighteen inches thick, and consist of fragments of sandstone, shaped by fracture but undressed, and bound together with mud plaster. The upper levels of the terraced buildings are reached by ladders and by stone steps.

“The reservation of 3863 square miles lies in the eastern watershed of the Little Colorado, but at no point does it extend to the river. In fact there is no perennial stream within its borders. The country is typical of the semi-arid Southwest. Broad sandy wastes are broken by rocky buttes and fantastically eroded mesas rising abruptly from the general level. Some seventy-five miles to the southwest the San Francisco mountains are visible, snow-covered in winter. High temperature prevails during the days of summer, but the nights are refreshingly cool. As the country lies at an elevation of about six thousand feet, the winter nights are fairly rigorous, but delightful, sunny days are the rule. A more healthful climate it would be difficult to find, and the harmonious pastel shades of sand, rock, and vegetation, the huge, cottony billows that float aloft on a summer’s afternoon, the glorious cloud effects at sunset, the distant ranges of lavender mountains slowly transformed into turquois as the lowering sun sinks behind them, the incredible blueness of the sky and brilliance of the stars, take hold of the heart and call one back again and again” (Curtis, The North American Indian, Volume 12, page 4-5).

“There are now eight Hopi pueblos, all of them on the tops of mesas. On East mesa are Walpi (‘gap place’) and Sichomovi (‘flower mound place’); on Middle mesa, Mishongnovi, Shipaulovi, and Shongopavi (‘rush spring place’); on West mesa, Oraibi, Hotavila (‘juniperwood slope’), and Pakavi (‘reed place’). Hotavila and Pakavi were established only within the last few years by dissatisfied faction from Oraibi. At East mesa also is Hano, a Tewa pueblo founded early in the eighteenth century by emigrants from the Rio Grande. Not one of the Hopi villages occupies the site on which it stood at the opening of the historical period in the middle of the sixteenth century” (Curtis, The North American Indian, Volume 12, page 6).

Round, painted sticks with feathers attached by cotton cords are deposited in various places, particularly in springs and at shrines, in supplication to the spirits associated with the locality.

This subject is Koyawaima ("gray [dawn] walking"), who has been chief of the fraternity since 1899.

“The first white men in the Province of Tusayan, as the Spaniards called the Hopi country, were Captain Pedro de Tovar, Fray Juan de Padilla, and a small company of horseman and foot-soldiers, who in 1540 were sent to explore the region by Coronado, then at the Zuni villages” (Curtis, The North American Indian, Volume 12, page 6).

An oratone is glass printed photographic print that is backed by a gold colored powder that is mixed with banana oil.

Piki is cornbread baked in colored sheets of paper-like thinness. The batter is spread on the baking stone with the bare hand, and the quickly baked sheet is folded and laid on the basket at the baker's left.

The Flute dance is a religious ceremony concerned with bringing rain. It represents the legendary arrival of the Flute people in the Hopi country, their friendly encounter with the clans already there, and the rain-making rites subsequently performed by them for the common good. The episode here represented was photographed at Middle mesa. The individual seated near the right end is an albino, not a white man.

Few illustrations of Hopi architecture show as much regularity as this view of a Walpi street.

“Since they first appeared in history in the sixteenth century, these Indians have occupied their present habitat in northeastern Arizona. Their neighbors on the north, west, and east were the predatory Navaho, alternately hostile and friendly, now raiding the Hopi fields and sheep ranges, now visiting the pueblo festivals, sometimes even receiving Hopi migrants and marrying them. From the north and east came also the warlike Ute, to combat whom the Hopi more than once called in Tewa settlers from the distant Rio Grande. Southward the country was overrun by nomadic bands of Apache, who frequently swooped down from the mountains south and west of the present Winslow. About a hundred miles to the southeast were the Zuni villages, the romantic Seven Cities of Cibola of the Spanish adventures; and beyond them to the Rio Grande, and particularly along that stream, were numerous pueblos, with all of which the Hopi held more or less intercourse. Far to the west, in and about the Grand canon, were the Havasupai and Walapai, both of the Yuman stock, whom Hopi traders regularly visited for the purpose of exchanging yarn and blankets for deerskins, and who in turn annually brought roasted mescal and pinon-nuts to the Hopi” (Curtis, The North American Indian, Volume 12, page 4).

“In the art of weaving, knitting, and embroidery the Hopi are preeminent. In ancient times they wove their cultivated cotton into fabrics the fitness of which excited the comment of the early Spaniards, and indeed the cloth remnants found in the ruined cliff-dwellings and burial caves of the country rival the examples of early Peruvian art. Textiles were not dyed prior to the acquisition of sheep, and the white background of ceremonial belts, sashes, and robes is still cotton in the form of commercial cord retwisted into a thin, tight strand. Excellent embroidery in Germantown yarn appears on all ceremonial garments” (Curtis, The North American Indian, Volume 12, page 27).

"Although the Hopi are composed of elements that must have spoken several diverse tongues, their speech is readily recognized as a dialect of the Shoshonean language, which in various forms was spoken in a large part of the Great Basin between the Rocky mountains and the Sierra Nevada, in southwestern Oregon, and in southern California even to the coast and on Santa Catalina island; and which furthermore is undoubtedly allied to the great Aztecan language. A linguistic map would represent the Hopi as an isolated people surrounded by alien tongues” (Curtis, The North American Indian, Volume 12, page 4).

Soft, regular features are characteristic of Hopi young women, and no small part of a mother's time is used to be devoted to dressing the hair of her unmarried daughters. The aboriginal style is rapidly being abandoned, and the native one-piece dress here illustrated is seldom seen even at the less advanced of the Hopi pueblos.

The white markings, typifying the antelope, indicate that the subject is accoutred for the semi-final day of the Snake dance, when the public performance consists of the dance and the ceremonial race of the Antelope fraternity.

This woman, so aged that her shrivelled skin hangs in folds, still finds pleasure in creating artistic and utilitarian pieces of pottery.

In this physiognomy we read the dominant traits of Hopi character. The eyes speak of wariness, if not downright distrust. The mouth shows great possibilities of unyielding stubbornness. Yet somewhere in this face lurks an expression of masked warmheartedness and humanity.

A typical village scene illustrating many features of pueblo architecture. At the extreme left is the entrance of an underground kiva, with the tips of the ladder projecting. In the central foreground is a baking-room, where piki is prepared, and to the left is an outdoor oven for baking loaf-bread.

"They call themselves Hopitu, the Peaceable People, and peace-loving they have always been. True, their history contains pages darkened with the annals of warfare, but their military activities were invariably either for defence of their fields and flocks from the forays of Ute and Navaho, or what they conceived to be just punishment visited upon some component members of the nascent Hopi people. Affability and sunny disposition are apt to be one’s first impression of the dominating traits of Hopi character, at least at Walpi, the goal of most Caucasian visitors. Presume on this affability, and you encounter cold reserve, ill-concealed disapproval, or outspoken resentment. The Hopi can be persuaded and led, if you convince his reason; failing this, you will hardly drive him. More than once in his relations with the Government he has shown that force and authority have no terrors from when he believes himself unjustly assailed. Numerically weak, poor in worldly goods, physically small, he possesses true moral courage” (Curtis, The North American Indian, Volume 12, page 3).

Picturesque Walpi, perched on the point of a rocky island in a sea of sand, is an irregular, rambling community-house, built without design, added to in haphazard fashion as need arose; yet it constitutes a perfectly satisfying artistic whole.

This plate depicts the accoutrement of a Snake dancer on the day of the Antelope dance (see Volume XII, pages 146-149). The right hand grasps a pair of eagle-feathers - the "snake whip" - and the left a bag of ceremonial meal. Honovi was one of the author's principal informants.

"From the time of the Conquistadores the Hopi have been commonly known as Moqui, an alien term of opprobrium originating probably in Zuni Amu-kwe. Apparently cognate terms are found in various Keresan dialects, as Laguna Motsa. The Hopi heartily dislike the designation, which, they believe, originated in the error of the first Spanish visitors, when they mistook the Hopi word moki, dead, for the tribal name” (Curtis, The North American Indian, Volume 12, pages 3-4).

A group of girls on the topmost roof of Walpi, looking down into the plaza.

Photograph of people gathered around an ancient stone house on the Hopi Indian Reservation (Ariz.)

Hopi male standing near a spring.

Horses standing in front of partially ruined building on Second Mesa, Shipaulovi, Arizona. Previously published as Edge of the Mesa in "Hopiland, A Portfolio by Forman Hanna" in Arizona Highways, vol. 16, June 1940. p. [24].

A young man with a burro and a dog stand alongside a path located on First Mesa, near Hano, Arizona.

Hopi man descending steps on Second Mesa, Shipaulovi, Arizona. Previously published as Steps Shipolovi in Hopiland, A Portfolio by Forman Hanna in Arizona Highways, vol. 16, June 1940. p. [20].

Photograph of an old Hopi (Moki) woman at the pueblo of Walpi (Walpai), Arizona, ca.1898. She stands in a corner before an adobe wall, wearing a dress and a shawl. She is barefoot. Her long gray hair is parted in the middle.

A Sequoya League investigation of Charles E. Burton, superintendent and special distributing agent of the Navajo and Moqui (Hopi) Indians, has found that Burton has "repeatedly and flagrantly violated" service rules by flogging Native Americans. Burton also forced Native American men to cut their hair. An official government investigation found wrongdoing but could not substantiate all of the Sequoya League's findings.

Drypoint etching of a head portrait of a Hopi Indian signed "Cadwallader Lincoln Washburn." Washburn was a renowned deaf artist who was born in Minneapolis, Minnesota, and graduated from the Minnesota Institute for the Deaf, Dumb and Blind and the National Deaf-Mute College (soon to be renamed Gallaudet College). He donated this art work to the Charles Thompson Memorial Hall, a deaf club in St. Paul, Minnesota, in honor of its opening in 1916.

Photograph (blurred) of a Hopi woman in the pueblo of Walpi (Walpai), Arizona, ca.1898. She sits on the doorstep of an adobe dwelling with a wooden door. She wears a dress, but no shoes. A dark sash can be seen around her waist. The woman is fairly old, and her long hair shows streaks of gray.

Photographic portrait of "Friendly", a Hopi man, at the pueblo of Walpi, Arizona, ca.1898. He stands outside with his arms at his side. He wears a printed long-sleeved shirt, dark pants, and a belt. He has a bandana around his head. He has long hair and a thin, wrinkled face.