Who painted Portfolio IX, Plate 317: The Clam Digger?

Portfolio IX, Plate 317: The Clam Digger was painted by Edward S. Curtis in 1900.

Where can I see Portfolio IX, Plate 317: The Clam Digger?

Portfolio IX, Plate 317: The Clam Digger is held by Cleveland Museum of Art.

Artwork

Portfolio IX, Plate 317: The Clam Digger

Edward S. Curtis , 1900

Portfolio IX, Plate 317: The Clam Digger is a work on paper by Edward S. Curtis. It dates from 1900 and is held in the collection of the Cleveland Museum of Art. Created in 1900 by photographer Edward S.

About this work

Overview

Created in 1900 by photographer Edward S. Curtis, this image is catalogued as Plate 317 in his Portfolio IX series. The work is part of the Cleveland Museum of Art’s collection and depicts a solitary figure engaged in a shoreline activity, rendered in muted brown tones that give the scene a quiet, atmospheric quality.

Subject & Meaning

The central figure, bent over the wet sand at the water’s edge, is shown extracting clams, a task that suggests a modest, labor‑intensive livelihood. The presence of a small boat on the shore and a hazy horizon underscores the remote, coastal environment in which such work occurs, inviting reflection on everyday subsistence in a maritime setting.

Technique & Style

Curtis employed a black‑and‑white photographic process, later printed with a sepia tonality that softens contrasts and unifies the composition in earth tones. The composition balances the figure’s forward motion with the expansive background, using depth of field to keep both foreground activity and distant landscape in clear view.

History & Provenance

The photograph was produced as part of Curtis’s extensive early‑twentieth‑century portfolio series, intended to document varied aspects of American life. It entered the Cleveland Museum of Art’s holdings through acquisition (date unspecified), where it remains an example of Curtis’s documentary approach to ordinary scenes.

Context

At the turn of the twentieth century, coastal economies relied heavily on shellfishing, and images like this provide visual evidence of such work practices. Curtis’s broader oeuvre often focused on indigenous peoples, making this depiction of a non‑tribal labor scene a notable departure within his body of work.