early morning,
when his wife arrived to open the shop for business, she would find him slumped against
a wall, fresh-printed pictures spread all over the floor, his clothes wrinkled, cigarette
stubs in a pile. And then he would snap to, rub his face and resume his work as if
he’d never taken a break. He boasted that he needed very little sleep to function
well; he had a prodigious amount of energy. His tank was always full.
“Wait till you see the next picture I make,” he would exclaim. “It’s going to be a
crackerjack!”
His labors would be rewarded with one of the biggest prizes in American photography.
The pictures prompted by Princess Angeline’s routine and repeat visits to the Tulalip
reservation—
The Clam Digger
and
The Mussel Gatherer,
along with
Homeward
—had made the finals. And
Homeward,
which showed Puget Sound Indians in a high-bowed canoe backlit by the sun-infused
clouds of early evening, won the grand prize: a gold medal from the National Photographic
Society. Soon, those pictures would tour the world.
As impressed as the visitors were by Curtis the photographer and Curtis the mountaineer,
they were equally interested in Curtis the amateur anthropologist. He had collected
bits of mythology and tribal narratives along his picture-taking path, and wrote up
summaries of these scraps of the Indians’ inner world. For decades Grinnell had fought
to save the American bison, using his influential mouthpiece,
Forest and Stream,
to shame speculators of buffalo hides and skulls, the mindless poachers with rapid-fire
rifles who had reduced a bounty of perhaps sixty million to a few hundred stragglers.
Grinnell’s passion for lost causes was now focused on Plains Indians. The Pawnee,
the Blackfeet, the Cheyenne—they’d been pushed to the brink, and their culture was
being erased from the land of their grandparents. In Grinnell’s view, the way to understand
Indians was to become more like them, rather than insist that the tribes become more
like us. He had lived with Plains Indians for twenty seasons, could speak the language
and many dialects, and had published
Pawnee Hero Stories and Folk-Tales.
The Blackfeet had made him an honorary member of the tribe. Grinnell feared that
in just a few years’ time, these natives might end up like the buffalo.
To Grinnell and Merriam, departing from the Pacific Northwest after a fortuitous
encounter on the region’s highest peak, this Curtis man seemed like quite the resourceful
fellow. He knew Alaska, mountains and Indians. He was fast on his feet, quick with
a joke, full of practical knowledge, physically heroic.
Over the winter, they stayed in touch. And in the spring of 1899 Merriam made a proposal
to Curtis: how would he like to join the largest scientific exploration of Alaska
ever undertaken? The idea came from the Gilded Age titan Edward Henry Harriman, who
had just gained full control of the Union Pacific Railroad as part of a bigger scheme
to monopolize rail traffic—much to the annoyance of his chief rival, J. P. Morgan.
The deal-making had left Harriman, at the age of fifty-one, exhausted; his doctor
recommended a long cruise. Harriman turned his hiatus into something much bigger.
He strode into the Washington, D.C., office of C. Hart Merriam with a plan to stock
a large ship with the finest zoologists, geologists, botanists and ethnologists and
go forth in search of the unknown. Merriam would organize the scientific party. Harriman
would pay for it all. It was to be the last great exploratory expedition of its kind
in North America, dating to the Lewis and Clark journey a hundred years earlier. Curtis
would be the official photographer.
The steamship
George W. Elder
left Seattle on the final day of May 1899, loaded down with milk cows and chickens,
a well-stuffed library and a well-stocked bar, and 126 people, including two medical
doctors, a chef and sous-chef,