Sign In | Register


RECENT ARRIVALS


Next >
Encampment of the Piekann Indians, near Fort McKenzie on the Muscleshell River
seller photo

Encampment of the Piekann Indians, near Fort McKenzie on the Muscleshell River

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: Daniel Rice & James G. Clark, 1842. Hand-coloured lithograph. Very good condition apart from some minor soiling on the sheet. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. A detailed print of the bustling military camp of the nomadic Piekann Indians near Fort McKenzie. A subgroup of the Blackfoot tribe, the Piekann or Piegan inhabited the Plains and Prairies of North America and were the quintessential Plains Indians. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola.After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a.

$2000.00

War Dance of the Sauks and Foxes
seller photo

War Dance of the Sauks and Foxes

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: F.W. Greenough, 1838. Hand-coloured lithograph. Very good condition apart from some overall light soiling and several small light brown spots in the image and margins. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. Based on a painting by Peter Rindisbacher, a Swiss artist who resided in the Red River Settlement established in Winnipeg by Lord Selkirk in 1811, this work depicts a war dance, possibly the Dance of the Wabana, in which its Sauk and Fox participants are chanting songs with "short, disjointed sentences, which allude to some victory...." Originally from Michigan, the Sauk tribe merged with the Fox tribe in the eighteenth century and inhabited the Great Lakes region of the United States. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a.

$2500.00

Qua-Ta-Wa-Pea or Col. Lewis. A Shawnnee Chief
seller photo

Qua-Ta-Wa-Pea or Col. Lewis. A Shawnnee Chief

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: E.C. Biddle, 1836. Hand-coloured lithograph. Very good condition apart from some minor foxing in the margins. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. A courageous Shawnee chief, Qua-Ta-Wa-Pea, also known as Colonel Lewis, was rumored to have been elected leader because the Shawnee interpreted President Jefferson's act of honoring him with a medal during a post-Revolution visit to Washington as a sign that that was the will of the United States. As was frequently the custom among Indians, Qua-Ta-Wa-Pea adopted the name of a respected white friend, that of Officer John Lewis. The Shawnee, an Algonquin speaking tribe, inhabited the Southeastern region of the United States. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a.

$350.00

Timpoochee Barnard, an Uchee Warrior
seller photo

Timpoochee Barnard, an Uchee Warrior

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: F.W. Greenough, 1838. Lithograph "Drawn Printed and Coloured at J.T. Bowen's Lithographic Establishment", after a C.B.King portrait painted in 1825. In excellent condition apart from some light off-setting in the plate. A fine image from McKenney and Hall's 'Indian Tribes of North America'. A venerated Yuchi chief, Timpoochee Barnard had a Scotish father and Yuchi mother. He was a commissioned major who valiantly fought under General Jackson against the Creeks in the 1814 Battle of Callabee Creek.. Major Barnard's distinguished military career continued with his gallant participation in the 1818 Seminole War and the battle at Econaffinnah or Natural Bridge of the same year. After travelling to Washington to contest the Indian Springs Treaty of 1825, he settled near Fort Mitchell, where he remained until his death. Of Timpoochee, President Jackson once remarked to his son, "A braver man than your father never lived." Also known as the Choya'ha or Tsoya'ha, meaning 'children of the sun', the Yuchi tribe inhabited the Southeastern region of the United States. They had been practically eliminated by the Creeks and Cherokees and lived uneasily in their midst. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a; Horan 344; Johansen & Gringe, 24.

$650.00

Payta Kootha A Shawanee Warrior
seller photo

Payta Kootha A Shawanee Warrior

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadephia: E. C. Biddle, 1836. Hand-coloured lithograph after Charles Bird King, printed by Lehman & Duval. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. Payta Kootha, Flying Clouds, was a Shawnee chief. He signed several treaties including the Treaty of Greenville in 1795. His last treaty was signed in 1825 by which the Shawnee surrendered all claim to land east of the Mississippi. An early impression printed by Lehman & Duval and published by Edward Biddle. Based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as making a record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character 24; Sabin 43410a; Viola, The Indian Legacy of Charles Bird King, 75-79; Horan, 160.

$750.00

Me-Te-A, a Pottawatomie Chief
seller photo

Me-Te-A, a Pottawatomie Chief

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: F.W. Greenough, 1836. Hand-coloured lithograph. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. A dignified and extremely influential Potawatomi chief, Me-Te-A was a prominent spokesman for his tribe at the 1821 council that convened in Washington to negotiate the 1821 Treaty of Chicago, in which the Potawatomi relinquished much of their land in Michigan to the federal government. In accordance with his belief in the importance of education, he sent several boys from his tribe to the Fort Wayne Indian agent in 1827, who enrolled them in the Choctaw Academy in Kentucky. The Potawatomi were closely associated with the Chippewa and Ottawa tribes and inhabited the Northeastern region of the United States. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, American Color Plate Books p. 24; Sabin 43410a.

$750.00

Ki-On-Twog-Ky, or Cornplant
seller photo

Ki-On-Twog-Ky, or Cornplant

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: [E. C. Biddle, 1836. Hand-coloured lithograph by Lehman & Duval. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. The son of a Seneca mother and the Dutch trader John O'Bail, Ki-On-Twog-Ky or Cornplanter was one of three principal leaders of the Iroquois Confederacy of Six Nations and a renowned Seneca war chief who fought in the French and Indian War (1754-1763). In opposition to Joseph Brant's insistence on the Confederacy allying itself with the British in the American Revolution, Cornplanter, like Red Jacket, favored neutrality, claiming that the war was a white man's affair in which they shouldn't intervene. Despite his initial protestations and the uncustomary dissension among the members of the Grand Council regarding the issue of participating in the war, the Seneca eventually yielded to majority opinion and agreed to fight for the British. In the aftermath of the war, Cornplanter intended to act as a diplomatic mediator between the Seneca and the colonists, negotiating auspicious terms for his nation. However, he became increasingly unpopular among his people after signing treaties at Fort Stanwix (1784), Fort Harmar (1789), and Genesee (1797), which ceded tracts of their ancestral homelands to the Federal government. Although his conciliatory actions earned him the contempt of his nation and political rivals such as Red Jacket, he obtained the respect of the U.S. government, which, in return for his cooperation in the Genesee treaty, awarded him an annual pension and a plot of land in Ohio. In 1786, he traveled to Philadelphia to attend a ceremony given by the Tammany Society, an organization devoted to synthesizing European and Native American culture, and then went to New York to meet with Congress regarding the distribution of Iroquois lands. Cornplanter later journeyed to Washington to visit President Jefferson in 1801-2, and, despite his depleted authority, rallied the Seneca to the American cause in the War of 1812. One of the most revered and feared tribes, the Seneca inhabited the most westerly location of the six tribes constituting the Iroquois Confederacy. They were directly south of Lake Ontario. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a.

$1750.00

View of Bethlehem (Pennsylvania)
seller photo

View of Bethlehem (Pennsylvania)

By BODMER, Karl (1809-1893)

Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Lucas Weber after Bodmer, blindstamp. Provenance: Donaldson, Lufkin &Jenrette Americana Collection A pastoral landscape scene of great serenity: the wheat has been cut and the stubble has yet to be ploughed in, the farming community takes a momentary rest from their labours. Another harvest safely gathered in. In the early-morning sun few people are around as Bodmer completes his sketch. After a day long journey Bodmer and Prince Maximilian had arrived on the evening of July 25 1832 at Bethlehem, a settlement of Moravians established in 1740 on the Lehigh River. Whilst the Prince toured the district with a German physician, Lewis Saynisch, Bodmer occupied himself by sketching the town and the surrounding countryside. This is the view from one of the highest points in Bethlehem, The buildings in the view still stand. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

$1200.00

Cave-In-Rock. view on the Ohio
seller photo

Cave-In-Rock. view on the Ohio

By BODMER, Karl (1809-1893)

Paris, Coblenz and London, 1839. Hand-coloured aquatint engraving by Lucas Weber after Bodmer, blindstamp, issue with one figure at the rail on the right hand side of the deck of the paddle-steamer, extensive use of aquatint on the river and scrub and small trees next to the boat on the far right. Provenance: Donaldson, Lufkin &Jenrette Americana Collection En route to St. Louis, Missouri, Bodmer, Prince Maximilian and Dreidoppel traveled via the Ohio river. About twenty-five miles beyond Shawnee Town, Bodmer sketched this intriguing geological rock formation known as Cave-In-Rock on the Illinois side of the river near Cave-In-Rock Island. The scene also includes an Ohio steamer flanked by two Ohio keelboats, all caught against a late evening sky. Unsurprisingly, the area is now part of a National Park. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

$1500.00

[The Aboriginal Portfolio]
seller photo

[The Aboriginal Portfolio]

By LEWIS, James Otto (1799-1858)

[Philadelphia, 1836. Folio. 18 1/4 x 11 inches). Blue upper wrapper to original part number 8 bound as title, 72 hand-coloured lithographed plates after Lewis by Lehman & Duval, bound without the three letterpress broadside prospectus Advertisement leaves to parts 1-3. (Occasional expert repairs.). Bound to style in dark green quarter morocco over contemporary patterned cloth-covered boards First edition. Scarcer than McKenney and Hall's 'History of the Indian Tribes', Prince Maximilian's 'Reise in das Innere von Nord-America' or Catlin's 'North American Indian Portfolio', Lewis' work records the dress of the Potawatomi, Winnebago, Shawnee, Sioux, Miami, Fox, Iowa and other tribes at treaties of Prairie du Chien, Fort Wayne, Fond du Lac and Green Bay. Publication of the work was costly and time consuming. The work was originally issued in 10 parts with 8 plates per number in printed wrappers. The publisher was forced into bankruptcy while part nine was in the press, however, reducing the edition and forcing part ten to be just barely finished and sparsely distributed. A projected eleventh part would have contained "Historical and Biographical Description of the Indians," but was never completed. The title and three advertisement leaves are therefore the only text in the work, excluding that on the wrappers. Copies are found with 72 plates (as here, being the first 9 numbers), others with 77 and occasionally 80. Bennett p.68; Field 936; Howes L315; Reese, Stamped With A National Character 23; Sabin 40812.

$85000.00

Hunting the Buffaloe
seller photo

Hunting the Buffaloe

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: E.C. Biddle, 1837. Hand-coloured lithograph heightened with gum arabic by J. T. Bowen after a painting by Peter Rindisbacher. In excellent condition apart from some light off-setting in the plate. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. This exciting scene is based on a painting by Peter Rindisbacher, a Swiss artist, who visited America between 1821 and 26. He lived at Lord Selkirk's Red River colony where he made a series of artistic studies of Native American life. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a; Horan 356.

$2000.00

[Catlin's North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From Drawings and Notes of the Author, made during Eight Years' Travel amongst Forty-Eight of the Wildest and most Remote Tribes of Savages in North America]
seller photo

[Catlin's North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From Drawings and Notes of the Author, made during Eight Years' Travel amongst Forty-Eight of the Wildest and most Remote Tribes of Savages in North America]

By CATLIN, George (1796-1872)

[London: Chatto & Windus, 1875. Large folio. (23 3/8 x 17 inches). 31 tinted lithographs after Catlin and McGahey. Without title or list of plates, found in few copies. Contemporary dark blue morocco backed marbled paper covered boards, morocco lettering piece on the upper cover, spine lettered in gilt (expert repairs to joints) The Indian Portfolio in the rare 31-plate tinted issue. This issue of Catlin's famous work on American Indians includes the rare six unnumbered lithographs, comprising two portraits, a group portrait of Ojibways, two tribal dance scenes, and a hunting scene. These six plates were evidently executed on lithographic stones in 1844 when Catlin envisioned a whole series of "Indian "Portfolios," but were not printed and issued until Chatto & Windus acquired Henry Bohn's stock of, and copyright for, Catlin's North American Indian Portfolio in 1871. This copy does not have any title or text leaves, as usual for this issue. Catlin's North American Indian Portfolio contains the results of his years of painting, living with and travelling amongst the Great Plains Indians. In a famous passage, Catlin describes how the sight of several Indian chiefs in Philadelphia led to his resolution to record their vanishing way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian." From 1832 to 1837 he spent the summer months sketching the western tribes, finishing his pictures in oils during the winter. He painted around 600 highly realistic and powerfully projected portraits of Indians, carefully recording their costume, culture and way of life. Catlin then exhibited his Indian Gallery in London beginning in 1841. Encouraged by his warm reception, he planned a series of four portfolios, with a total of 100 plates, to illustrate Indian life. By the time the first Indian Portfolio appeared in late 1844, Catlin had desperately overstrained his budget, and was forced to sell the entire project, lithographic stones and all, to the preeminent English publisher of color plate books, Henry Bohn. Research by William Reese has demonstrated that Henry Bohn issued the Indian Portfolio in several variant versions while he controlled the copyright, from 1845 until his retirement in the late 1860s. In 1871 he sold the copyright and working materials for a number of his books to the firm of Chatto & Windus. According to the surviving Chatto & Windus records, they acquired the original lithographic stones made in 1844, including an additional six, never printed, which must have been prepared for Catlin's next projected Indian Portfolio. Thus, the extra six plates only appear here. The thirty-one-plate issue is far rarer than any of the twenty-five-plate issues, by a ratio of about four to one. Reese located fifteen other copies of this issue (out of 165 copies in his census on copies of the Indian Portfolio). The plates are as follow: 1) "North American Indians." 2) "Buffalo Bull Grazing." 3) "Wild Horses, at Play." 4) "Catching the Wild Horse." 5) "Buffalo Hunt, Chase." 6) "Buffalo Hunt, Chase." 7) "Buffalo Hunt, Chase." 8) "Buffalo Dance." 9) "Buffalo Hunt, Surround." 10) "Buffalo Hunt, White Wolves attacking a Buffalo Bull." 11) "Buffalo Hunt, Approaching a Ravine." 12) "Buffalo Hunt, Chasing Back." 13) "Buffalo Hunt, Under the White Wolf Skin." 14) "Snow Shoe Dance." 15) "Buffalo Hunt, on Snow Shoes." 16) "Wounded Buffalo Bull." 17) "Dying Buffalo Bull, in Snow Drift." 18) "The Bear Dance." 19) "Attacking the Grizzly Bear." 20) "Antelope Shooting." 21) "Ball Players." 22) "Ball-Play Dance." 23) "Ball Play." 24) "Archery of the Mandans." 25) "Wi-Jun-Jon an Assiniboine Chief." [unnumbered] "Joc-O-Sot, the Walking Bear." [unnumbered] "Mah-To-Toh-Pah, The Mandan Chief." [unnumbered] "O-Jib-Be-Ways." [unnumbered] "Buffaloe Hunting." [unnumbered] "The War Dance." [unnumbered] "The Scalp Dance." Wagner-Camp 105a; Howes C243; Field 258; Abbey Travel 653 (ref); McCracken 10; William S. Reese, "The Production of Catlin's North American Indian Portfolio, 1844-1876," issue 11.

$58000.00

Buffalo Hunt under the White Wolf Skin. An Indian Stratagem on the Level Prairies
seller photo

Buffalo Hunt under the White Wolf Skin. An Indian Stratagem on the Level Prairies

By CATLIN, George (1796-1872)

New York: Currier & Ives, 1858. Lithograph, coloured by hand. Sheet size: 18 1/8 x 23 1/16 inches. A very rare Currier and Ives issue of this classic image of life on the Western Plains before the coming of the white man. Nathaniel Currier & James Ives, the most successful print publishers of their era, published only a few of Catlin's images and all are now particularly rare. Catlin's description of his own version of this plate ("Buffalo Hunt, Wolf Skin Mask", plate 13 from Catlin's North American Indian Portfolio ) is equally valid when applied to the present Currier & Ives issue "The Indian, superior in craft to both... [the buffalo and wolf], and... [not owning] a horse, has [adopted]... the stratagem represented in this plate, of profiting by these circumstances, by placing himself under the skin of a white wolf, with his weapons in hand, in which plight he often creeps over the level prairies (where there is no object to conceal him) to close company with the unsuspecting herd... In this plate is a just representation of the level prairies which often occur for many miles together, affording to the eye of a traveller, in all directions, a complete type of the ocean in a calm; green near and around him, but changing to blue in the distance; without tree or shrub, or slightest undulation to break the perfect line of the surrounding horizon." Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. The present image is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Conningham 728; Gale 814; Peters 1519a.

$2850.00

The Buffalo Hunt: Surrounding the Herd
seller photo

The Buffalo Hunt: Surrounding the Herd

By CATLIN, George (1796-1872)

New York: Currier & Ives, 1858. Lithograph, coloured by hand. Sheet size: 18 1/8 x 23 1/16 inches. A very rare Currier and Ives issue of this classic image of life on the Western Plains before the coming of the white man. Nathaniel Currier & James Ives, the most successful print publishers of their era, published only a few of Catlin's images and all are now particularly rare. Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, -- yet honourable, contemplative and religious being". In a famous passage from the preface of his North American Indian Portfolio, Catlin describes how the sight of several tribal chiefs in Philadelphia led to his resolution to record their way of life: "the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life shall prevent me from visiting their country and becoming their historian". He saw no future for either their way of life or their very existence, and with these thoughts always at the back of his mind he worked, against time, setting himself a truly punishing schedule, to record what he saw. From 1832 to 1837 he spent the summer months sketching the tribes and then finished his pictures in oils during the winter. The record he left is unique, both in its breadth and also in the sympathetic understanding that his images constantly demonstrate. The present image is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Conningham 728; Gale 814; Peters 1519a.

$2850.00

History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred Portraits from the Indian Gallery in the War Department at Washington
seller photo

History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with One Hundred Portraits from the Indian Gallery in the War Department at Washington

By MCKENNEY, Thomas Loraine (1785-1859) [and James HALL (1793-1868)]

Philadelphia: Caxton Press of Sherman & Co. for D. Rice & Co, 1874. 3 volumes (text: 2 volumes, royal 8vo [10 7/16 x 7 1/4 inches; atlas of plates. folio [20 x 14 inches]). Text: "Billy Bowlegs" portrait as frontispiece to volume II of text; atlas of plates: 120 hand-coloured lithographs after Karl Bodmer, Charles Bird King, James Otto Lewis, P. Rhindesbacher and R.M. Sully, drawn on stone by A. Newsam, A.Hoffy, Ralph Tremblay, Henry Dacre and others, printed and coloured by J.T. Bowen and others. Expertly bound to style in uniform navy half morocco over the original blue cloth-covered, richly gilt spines divided into five compartments with raised bands, lettered in the second and fourth, the others with repeat decorative motif built up from small tools, marbled endpapers, gilt edges The last folio edition of one of the most important 19th-century works on the American Indian, and one of the most important colour plate books produced in America in the age of lithography The first folio edition was issued by E.C. Biddle from 1836 to 1844, and reissued by F.W. Greenough and Daniel Rice. The number of different printers and lithographers involved in the project speaks to the complicated production of the most elaborate plate book published in the United States up to that time. The present final edition of McKenney & Hall was issued by the firm of D. Rice, whose father took over the initial project as publisher in the early 1840's. This edition differs from the original folio edition in significant ways. Most importantly, a plate is added, the portrait of the Seminole chief Billy Bowlegs which appears as a frontispiece in the second text volume, making this the most complete form of the work. Also, this edition was published without the map, table, and facsimile signatures of subscribers which appeared in the original edition, and also removes James Hall's name from the titlepage, only crediting McKenney. This edition is also unusual for the number plates that are included with no publisher's credit line. The reason for this is not known, but Christopher W. Lane states that 'there was no single date at which these no-imprint variants were run off'. In other words, they could date from the 1830's onwards, although he goes on to note that their first recorded appearance is in an 1842 issue of volume I of the 3-volume folio edition. McKenney and Hall's Indian Tribes of North America has long been renowned for its faithful portraits of Native Americans. The portrait plates are based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. Both authors, not unlike George Catlin, whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). McKenney provided the biographies, many based on personal interviews, and Hall wrote the general history of the North American Indian. OCLC 35709791; this edition not in Field, Howes, or Sabin.

$75000.00

[Junction of the Yellow-Stone River with the Missouri
seller photo

[Junction of the Yellow-Stone River with the Missouri

By BODMER, Karl (1809-1893)

Paris, Coblenz and London, 1842. Aquatint engraving by Salathé after Bodmer, proof printed in black, brown and blue, and without the imprint or the English title. Small chip to upper right corner. A very rare experimental proof of the Salathé plate, with three colours used to ink different areas of a single printing plate. This title was printed from two different plates, one engraved by Salathé with six pronghorn antelope in the foreground and the French title starting 'Réunion...', the second by L. Weber with nine antelope in the foreground, a further seven in the mid-ground and the the French title starting 'Confluent...' The travelers, aboard the steamer Assiniboine arrived at Fort Union, just above the junction of the Yellowstone and Missouri Rivers, on 24 June 1833, after a journey of seventy-five days up the Missouri River from St.Louis. They stayed until 6 July, when they departed upriver by keelboat for Fort McKenzie. Fort Union was the uppermost point of steamer traffic at the time of Bodmer's visit and like most fur company posts on the Missouri at this time, was situated on a low open prairie sufficiently large to accommodate the large encampments of numerous Indians during the height of the trading season. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

$3500.00

Taos Pueblo
seller photo

Taos Pueblo

By ADAMS, Ansel Easton (1902-1984) and Mary Hunter AUSTIN (1868-1934)

San Francisco: Grabhorn Press, 1930. Folio. (17 x 12 1/2 inches). [6] preliminary pages followed by [14]pp. of text. 12 original mounted photographs, printed on Dessonville paper by Ansel Adams, various sizes to 9 x 6 1/2 inches, each with a corresponding caption leaf. Publisher's tan morocco backed orange cloth, spine with raised bands in six compartments, marbled endpapers (minor fading to the leather) From an edition of 108 numbered copies signed by the author and the photographer, containing magnificent photographs by Ansel Adams. Possibly the most famous of modern photographic works on the West, Taos Pueblo was a collaboration between the young photographer, Ansel Adams, and one of the most evocative writers on the Southwest, Mary Austin. An elegant design by the Grabhorn Press provides a counterpoint to Adams' photographs of the adobe Pueblo. The book distilled the romance and naturalism that many Americans found in the Indian pueblos of New Mexico, and defined the style that was to make Adams the most popular of photographers of the American West. "It was at Taos and Santa Fe that Ansel Adams first saw the Southwest. The time was the spring of 1927... His visit resulted in a Grabhorn Press book now of legendary rarity. It includes Ansel Adams' photographs and Mary Austin's essay on Taos Pueblo. Genius has never been more happily wed. Nowhere else did she write prose of such precise and poetical authority ... Their Taos Pueblo is a true and beautiful book by two consummate artists" (Ansel Adams: Photographs of the Southwest, 1970, p. xxv). Produced in a small edition, the book is difficult to obtain today. This example is signed by both Austin and Adams and is in beautiful condition. One of the greatest books produced by the Grabhorn Press and featuring beautiful photographs by Ansel Adams, it is a landmark of American photographic depiction of the Southwest. Heller & Magee, Grabhorn Bibliography 137; Roth, The Book of 101 Books 58.

$85000.00

Mo-Hon-Go, an Osage Woman
seller photo

Mo-Hon-Go, an Osage Woman

By MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)

Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph by Lehman and Duval. In excellent condition. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. Mo-Hon-Go was an Osage woman, who in 1827 unknowingly embarked on a three year cross-continental journey after being duped by the French con artist, David Delaunay. Under the pretense that he was taking them to Washington to meet the President, Delaunay took a group of Osage that included Mo-Hon-Go and her husband Kihegashugah, or Little Chief, to France, Holland, and Germany, where he displayed them as primitive curiosities in a successful Wild West show. When they arrived in Le Havre from New Orleans, he told them they were merely taking an extremely circuitous route to Washington via Europe. Whether it was because he was incarcerated by his creditors or because popular interest in the show began to wane, Delaunay eventually deserted the group in Paris, leaving them destitute and disoriented. They wandered the streets, Mohongo pregnant, and all of them hungry. Someone brought the group to Lafayette, who kindly paid for their passage back to America, though several members soon died of smallpox, including Mohongo's husband. Wandering again in Norfolk, Virginia, they were boarded by charitable strangers. Someone alerted McKenney of their situation, and ultimately, Mohongo (and her son) and the remaining group were brought to Washington to meet President Jackson in 1830. They were then given passage back to their homeland. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath). Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a.

$950.00

Noápeh,  An Assiniboin Indian; Psíhdjä-Sáhpa, A Yanktonan Indian
seller photo

Noápeh, An Assiniboin Indian; Psíhdjä-Sáhpa, A Yanktonan Indian

By BODMER, Karl (1809-1893)

London: Ackermann & Co, 1843. Aquatint engraving by Chollet and Hürlimann after Bodmer, blindstamp. An excellent half-length double portrait, composed by Bodmer from two portraits carried out in June 1833 and January 1834. Noápeh (`Troop of Soldiers'), despite interruptions from his family, posed patiently for Bodmer at Fort Union and which allowed time for the details of the elaborate head-dress to be recorded: the projecting antelope horns have been cut and thinned and tipped with dyed horsehair. Between the horns is a crest of clipped feathers. The long fringe is made of leather, each strand bound intermittently with porcupine quills. Psíhdjä-Sáhpa, a young Yankton Sioux warrior was apparently initially reluctant to pose, but a frequent visitor to Fort Clark, he eventually relented in January 1834 and is shown here with bear paws painted on his chest, and with ornaments including beaded hairbows, strings of dentalium shells and beads and brass bangles. The portrait was apparently executed under extremely trying conditions: the Fort was so cold Bodmer's paints and brushes froze and had to be constantly thawed out with hot water. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. David C. Hunt, "Karl Bodmer and the American Frontier," Imprint /Spring 1985, p.18; cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.

$2250.00

Niagara Falls
seller photo

Niagara Falls

By BODMER, Karl (1809-1893)

Paris, Coblentz and London, 1842. Hand-coloured aquatint engraving by Lucas Weber after Bodmer, blindstamp, issue with no date at end of English imprint. Some mild vertical creases. One of greatest landscape images to result from the Bodmer's and Prince Maximilian's expedition. Bodmer saw the Falls for the first time on 28 June 1834 and was clearly inspired by the scenic splendor of one of the great natural wonders of the world. The travelers had reached the Falls towards the end of their expedition. Leaving Vincennes, Indiana, on about 11 June, they had traveled east, arriving on the Ohio opposite Louisville, Kentucky. Here they took ship for Cincinnati and Portsmouth following the route of the Ohio Canal along the Scioto River north to Cleveland on Lake Erie. From here they took a steamboat to Buffalo, New York. Niagara Falls remained a favorite subject of artists throughout the first half of the nineteenth century, but the present representation is arguably the finest to appear in print. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures. Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.

$1750.00

Next >