File consists of one signed copy of a portrait of an unidentified Indigenous man by artist W. Langdon Kihn. Portrait was gifted to Norman Luxton by Kihn in 1922.
1 drawing : portrait, pencil and ink ; 29 x 37.5 cm
History / Biographical
Wilfred Langdon Kihn (1898-1957) was an American artist born in Brooklyn, New York. Kihn was best known for his illustrated portraits of American and Canadian Indigenous people, including members of the Blackfoot, Navajo, Pueblo and Tsimshian communities. The individuals in Kihn's portraits were most often depicted wearing traditional and ceremonial clothing rather than their typical clothes.
Kihn's art career began in 1919 when he travelled to Montana and created some of his earliest portraits while visiting the Blackfeet Reservation. Throughout the 1920s, Kihn travelled extensively in Canada and the United States, creating portraits of individuals from a diverse range of Indigenous communities. Many of these portraits were put on display as part of a travelling exhibition organized by the Brooklyn Museum. In 1935, Kihn was commissioned by National Geographic to produce Indigenous portraits for publications; this ultimately led to a two-decade career with National Geographic.
Scope & Content
File consists of one signed copy of a portrait of an unidentified Indigenous man by artist W. Langdon Kihn. Portrait was gifted to Norman Luxton by Kihn in 1922.
Notes
Portrait is signed in the bottom left corner: "To "Norm" Luxton From his friend W. Langdon Kihn. 1922"
General colour: white, black, orange. The man's white fur hat fills upper third of the drawing. His eyes look out. He wears an orange tie. There is some purple colour on his left lapel. The title is in orange in the lower left corner. In the lower right corner, the words are in black.
General colour: white, black, orange. The man's white fur hat fills upper third of the drawing. His eyes look out. He wears an orange tie. There is some purple colour on his left lapel. The title is in orange in the lower left corner. In the lower right corner, the words are in black.
A head and shoulders portrait of a First Nations Chief in full headdress. He is turned slightly to the right, his right hand is raised in salute. Written in the lower right corner is “To my fine old friend Col. Moore Anis-ta-ma-ka Pal. Banff, Sept. 7 1927.”
A head and shoulders portrait of a First Nations Chief in full headdress. He is turned slightly to the right, his right hand is raised in salute. Written in the lower right corner is “To my fine old friend Col. Moore Anis-ta-ma-ka Pal. Banff, Sept. 7 1927.”
Centered in the image frame is a portrait of a man. The male figure in this image is wearing a brimed hat and has a pipe in his mouth. The portrait is not a straight on angle the angle here is a three quarter angle. The subject Mr. Carl Rungius is looking to his right with his left side of his face…
Centered in the image frame is a portrait of a man. The male figure in this image is wearing a brimed hat and has a pipe in his mouth. The portrait is not a straight on angle the angle here is a three quarter angle. The subject Mr. Carl Rungius is looking to his right with his left side of his face facing us. The subject here is wearing a collared coat and round glasses.
General colour: charcoal on white. Three men sit at a table. The chair in front faces out. The man on the left holds a glass. Other glasses are on the table. Two other men can be seen behind presumably sitting at another table. They wear hats.
General colour: charcoal on white. Three men sit at a table. The chair in front faces out. The man on the left holds a glass. Other glasses are on the table. Two other men can be seen behind presumably sitting at another table. They wear hats.
General colour: black on white. Two miners stand left and right. The right man faces left and behind him to the right is an object with wheels on it. They are both outfitted with hats, coats, boots, pants and various bags and containers slung over their shoulders and off their belts.
General colour: black on white. Two miners stand left and right. The right man faces left and behind him to the right is an object with wheels on it. They are both outfitted with hats, coats, boots, pants and various bags and containers slung over their shoulders and off their belts.
The right side of the picture is dominated by on man sitting at a table with hat and coat, with a glass to his lips. A table is to centre left, glass on it, other men in background.
The right side of the picture is dominated by on man sitting at a table with hat and coat, with a glass to his lips. A table is to centre left, glass on it, other men in background.
Two men seated at a table, are in animated conversation. Both men are wearing hats and hip length coats. The drawing is slightly centre left. Written on the back in ink dispute (KDP's hand)
Two men seated at a table, are in animated conversation. Both men are wearing hats and hip length coats. The drawing is slightly centre left. Written on the back in ink dispute (KDP's hand)
A man, fully dressed and equipped (lunch pail, lamp) for work, sits astride a bench. His head is in his right hand, his left hand is on the bench and he appears to be writing. Top right corner is written Yorkie Lewis
A man, fully dressed and equipped (lunch pail, lamp) for work, sits astride a bench. His head is in his right hand, his left hand is on the bench and he appears to be writing. Top right corner is written Yorkie Lewis
General colour: charcoal on white. Looking down at a man in a coat and hat sitting on a bench with a safety lamp on the floor between his legs. Behind him on the left is his lunch box. His hat shadows his face which looks down right.
General colour: charcoal on white. Looking down at a man in a coat and hat sitting on a bench with a safety lamp on the floor between his legs. Behind him on the left is his lunch box. His hat shadows his face which looks down right.
Running from the left side of the drawing toward the cc is a bison. Along side of it on the right side of the image a man with a gun riding a horse is trying to kill it. Both the horse and the bison are in full run with grass under foot and trees or shrubs in the distance.
Running from the left side of the drawing toward the cc is a bison. Along side of it on the right side of the image a man with a gun riding a horse is trying to kill it. Both the horse and the bison are in full run with grass under foot and trees or shrubs in the distance.
General colour: pencil on white. Head and upper torso of a man sitting in a chair. His left profile. He wears a beret on the back of his head. His shirt is plaid - sleves rolled up. He has a short mustache.
General colour: pencil on white. Head and upper torso of a man sitting in a chair. His left profile. He wears a beret on the back of his head. His shirt is plaid - sleves rolled up. He has a short mustache.
Located in the center and filling most of the image area is an Inuit dancer. He stands with his back toward the viewer. His tunic is a yellow colour and he holds a drum stick in his right hand. He has medium length straight hair depicted in graphite and a colourful belt tied around his waist. His t…
Located in the center and filling most of the image area is an Inuit dancer. He stands with his back toward the viewer. His tunic is a yellow colour and he holds a drum stick in his right hand. He has medium length straight hair depicted in graphite and a colourful belt tied around his waist. His tunic has fringes at the sides and bottom and he has a decorative strip around the top of his mukluk.
File consists of one compact disc containing one JPG file. Image pertains to an illustration drawn in pencil by Sally Wilson depicting a side profile of a ptarmigan. Image was used in the creation of a list of birds in Jasper National Park. File also includes a card from Sally Wilson giving written…
File consists of one compact disc containing one JPG file. Image pertains to an illustration drawn in pencil by Sally Wilson depicting a side profile of a ptarmigan. Image was used in the creation of a list of birds in Jasper National Park. File also includes a card from Sally Wilson giving written consent to use her drawing in future publications.