George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
Title: Attributed to George Catlin (1794-1872), Wolf Chief, Head Chief of the Tribe, 1843 Dimensions: 4 5/8 x 3 1/2 Framed Dimensions: unframed Signature: signed and dated lower right: Geo. Catlin. 1843 verso: titled and dated
Title: Attributed to George Catlin (1794-1872), Buffalo Bull's Back Fat, Head Chief of the Blood Tribe, 1843 Dimensions: 4 5/8 x 3 1/2 Framed Dimensions: unframed Signature: signed and dated lower left: Geo. Catlin. 1843.
Title: Attributed to George Catlin (1794-1872), Horse Chief, Head Chief of the Blackfoot Tribe, 1843 Dimensions: 4 5/8 x 3 1/2 Framed Dimensions: unframed Signature: signed and dated lower left: Geo. Catlin. 1843. verso: titled and dated
Title: Attributed to George Catlin (1794-1872), Brave Chief, Head Chief of the Bad Arrow Tribe, 1843 Dimensions: 4 5/8 x 3 1/2 Framed Dimensions: unframed Signature: signed and dated lower left: Geo. Catlin. 1843 verso: titled and dated
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin (1796 - 1872) Buffalo Hunt, Under the White Wolf Skin, ca. 1844 lithograph on wove paper Plate 13 from George Catlin's North American Indian Portfolio, a suite of twenty-five bound lithographs on woven paper (1844). titled lower center: N° 13 / BUFFALO HUNT, UNDER THE WHITE WOLF SKIN. / (From Catlin's N.A. Indian Collection.) inscribed lower right: Day&HagheLith. to the Queen inscribed lower left: Catlin del_ on Stone by McGahey
Catlin, George The Manners, Customs, and Condition of the North American Indians London: published by the author, at the Egyptian Hall, Piccadilly, 1841 [1892]. 2 volumes, large 8vo, original blue pictorial cloth gilt, folding map, 180 colour-printed wood-engraved plates containing 313 discrete numbered images including 3 maps (one of which folding; a handful of plates including volume 1 frontispiece and final map in volume 2 unnumbered), a few plates slightly loose, sunning to spines and to volume 2 front board; Ewing, William. Arab and Druze at Home. A Record with the People East of the Jordan. London: T. C. & E. C. Jack, 1907. First edition, 8vo, original decorative cloth, halftone photographic plates (2)
CATLIN, George (1796-1872). Joc'O-Sot (The Walking Bear) A Sauk Chief from the Upper Missouri, U. S. Am. Lithograph with original hand color. From The North American Indian Portfolio. London, 1844. 20" x 15" visible, 32" x 27" framed. George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.”
CATLIN, George (1796-1872). Archery of the Mandans, No. 24. Lithograph with original hand color. From The North American Indian Portfolio. London, 1844. 16 3/4" x 22 1/2" sheet, 28 1/2" x 34 1/2" framed. George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.”
CATLIN, George (1796-1872). Buffalo Hunt, approaching the ravine. Lithograph with original hand color. From The North American Indian Portfolio. London, 1844. 16 1/2" x 22 1/2" sheet, 28 1/2" x 34 1/2" framed. George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.”
CATLIN, George (1796-1872). Antelope Shooting. Lithograph with original hand color. From The North American Indian Portfolio. London, 1844. 14 1/2" x 19 1/2" visible, 24 1/2" x 29 1/2" framed. George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.”
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
Oil on board painting. In the manner of George Catlin, 1796 to 1872, an American traveler and artist who specialized in portraits of Native Americans in the Old West. The piece represents a panoramic view of a buffalo hunt. Unsigned. Wooden frame. Collectible Fine Art, Landscape, Americana.
Oil on board painting. After the 1844 artwork titled Neu-mon-ya, Walking Rain, War Chief by George Catlin, 1796 to 1872, an American traveler and artist who specialized in portraits of Native Americans in the Old West. The piece represents a portrait of an Iowa leader. The original is now in the collection of the Smithsonian American Art Museum. Unsigned. Wooden frame. Collectible Fine Art, Portraiture, Americana.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin (American, 1796-1872). "O-Jib-Be-Ways" lithograph with hand coloring, stones made in 1844, printed ca. 1875 by publishers Chatto & Windus, London. A rare first printing of George Catlin's "O-Jib-Be-Ways" from the six new plates for the North American Indian Portfolio published ca. 1875 following the discovery of 6 lithographic stones by publishers Chatto & Windus, London. (Read more about this from Christina Geiger, Head of Books & Manuscripts at Christie's New York, in the extended description below.) This group portrait includes 9 Native Americans depicted half length at the top with heads in profile below and images of birds and animals to represent the men's totems. Please note, this is an original hand-colored antique lithograph that has been professionally mounted in a custom, museum quality frame under glass. Size (sight view): 13.875" L x 17.75" W (35.2 cm x 45.1 cm) Size (frame): 24.4" L x 27.5" W (62 cm x 69.8 cm) According to Christina Geiger of Christie's New York, "Of this most impressive work of Western Americana, Catlin was able to publish only one of his planned series of four portfolios. That portfolio had 25 plates and was issued in the fall of 1844 ... Soon afterwards, Catlin soon sold the copyright to London publisher, Henry Bohn. '[Bohn] kept the book in print, with several reissues, through the late 1860s, when he sold the copyright, along with the rest of his publishing empire, to the firm of Chatto & Windus. The new publishers discovered that six more lithographic stones after Catlin had been prepared but never used. The stones were made in 1844, when Catlin had projected more portfolios, but had sat with the printer ever since' (Best of the West)." About the artist: George Catlin was the first accomplished artist to travel among and visually document the customs and traditions of the Plains Indians. Catlin hoped that his artwork and written observations would demonstrate the importance of respecting and preserving Native American culture. In 1830, George Catlin - lawyer turned artist - left his home in Pennsylvania to travel the American West and visually document North American Indians and their ways of life. After 8 years among the major tribes of the Great Plains and the Rocky Mountains, he created an "Indian Gallery," comprised of more than 400 paintings and an expansive collection of artifacts he had collected during his travels. In addition to exhibiting these, Catlin published a selection of his finest works in the "North American Indian Portfolio" in order to expand his audience. Catlin's oeuvre stems from a lifelong fascination with Native Americans and a desire to preserve, in his words, "the looks and customs of the vanishing races of native man in America" with his art. This passion took root when Catlin was just a nine-year-old boy; exploring the woods of southcentral New York along the Susquehanna River in 1805, he came upon an Oneida Indian who greeted him in a warm, kind-hearted manner. This memory purportedly stayed with the artist throughout his career. Despite the fact that Catlin had no formal training as an artist, he did have an undeniable talent for drawing. Although his father encouraged him to study law instead of art, the legal trials were far less interesting to Catlin that the imagery before him. Catlin found himself sketching judges, offenders, and jury members, and within a few years time, he decided to sell his law books and move to Philadelphia to pursue art. Lacking direction, he painted portraits but was dissatisfied with these subjects until, in approximately 1828, a delegation of Native Americans stopped in Philadelphia en route to Washington, D.C. and Catlin was reportedly drawn to what he described as "their classic beauty." Seduced by the romance of the "disappearing races", Catlin recognized that smallpox and whiskey were decimating the indigenous peoples, and vowed that "nothing short of the loss of my life, shall prevent me from visiting their country, and of becoming their historian." So in 1830, Catlin headed West where he stayed for six years (returning East most winters to his family) and painted 300 portraits and almost 175 ritual scenes and landscapes. In 1837, following his return to New York, Catlin set up an exhibition in salon style (stacked from floor to ceiling) that made quite an impression. As an artist, Catlin was both honored and criticized during his lifetime; however, the fact that he had created the largest of pre-photographic imagery depicting Native americans - a remarkable record - is undeniable. Bruce Watson, in his review of a 2002 Renwick Gallery exhibition of Catlin's work, wrote, "Though not the first artist to paint American Indians, Catlin was the first to picture them so extensively in their own territories and one of the few to portray them as fellow human beings rather than savages. His more realistic approach grew out of his appreciation for a people who, he wrote, 'had been invaded, their morals corrupted, their lands wrested from them, their customs changed, and therefore lost to the world.' Such empathy was uncommon in 1830, the year the federal Indian Removal Act forced Southeastern tribes to move to what is now Oklahoma along the disastrous 'Trail of Tears.'" (Bruce Watson, "George Catlin's Obsession," Smithsonian Magazine, December, 2002) In a famous passage from the preface of his "North American Indian Portfolio", Catlin describes how the sight of several tribal chiefs in Philadelphia inspired him 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". Understanding that the Native Americans' future was in jeopardy, Catlin worked tirelessly, always feeling the pressure of time, to record what he saw - an artist-as-ethnographer. From 1832 to 1837 Catlin sketched the tribes during the summer months and during the winters he would paint the imagery in oils. In addition to exhibiting these, he published a selection of the finest of images from this record in the "North American Indian Portfolio" in order to expand his audience. Cf. William S. Reese, The Production of Catlin's North American Indian Portfolio, 1844-1876. Inscriptions: Lower left engraved on stone, below image: G. Catlin, Del. Lower left engraved on stone: (Ent.d. at Sta.rs. Hall.) Lower center engraved on stone, below image: O=JIB=BE=WAYS. No. 1 Ah=qwe=wee=zaints; (the Boy Chief) No. 4. San=mah; (Tobacco) No. 7. Wos=see=als=e=neuh=qua; Woman. "2. Pat=au=ah=quot=a=wee-be; (the driving cloud,) war chief, "5. Gish.=e=gosh=e=gee; (the moonlight night) "8. Nib=nab=e=qua; Child 3; Wee=nish=ka=wee-be; (the flying Gull) "6. Not=een=a=akm; (strong wind) Interpreter) "9. Ne=bet=neuh=qua; Woman The Symbols attached are fac=similes of each man's respective Totem or signature. Day & Haghe, Lith.rs to the Queen. Lower right engraved on stone, below image: On Stone by. Mc.Gahey Please note: This lithograph is held in esteemed institutions such as the Amon Carter Museum (2004.18.29); the Carnegie Museum of Art (59.41.14); the Gilcrease Museum (15.13); the British Museum (1871,0812.4231) Provenance: private Colorado, USA collection; Private collection of a Private Colorado Family All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #184070
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin’s North American Indian Portfolio features stunning lithographs which capture Native American history. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This is a folio lithograph from the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. The lithographs are considered to be from the best edition which are mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represenet the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
George Catlin (1794-1872) Ostrich Chase - Buenos Aires signed and dated 'G. Catlin 1857' (lower left) oil on canvas 19 1/4 x 26 3/4 in. framed 24 x 31 1/2 in.
George Catlin (American 1796-1872) Hand Colored Lithograph "The Bear Dance" #18, from Catlin's North American Indian Collection; Day and Hughe lithographer to the Queen - Catlin Del on Stone by McGahery, decorative mat and gilt frame 14 in. x 19 in. Framed 23.25 in. x 27.75 in.
This complete set with 31 originally hand-colored lithographs on card is George Catlin’s North American Indian Portfolio. Field describes the lithographs as “beautiful scenes in Indian life [that] are probably the most truthful ever presented to the public.” The full title reads 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. This volume with cloth folding box is the rare hand-colored issue that was published in London circa 1875 for George Catlin by Chatto & Windus. This is considered to be the best edition which has the lithographs mounted on card and feature original hand-coloring to imitate watercolors. The lithographs represent the greatest images from Catlin’s travels. George Catlin’s Portfolio marks a noteworthy moment in American history. Catlin traveled extensively chronicling the lives and culture of Indians across America. He created nearly 500 paintings of which some were used to make prints for this momentous work. Catlin described his need to do this work in that “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.” Original images of Native Americans are uncommon from the 19th century, and Catlin’s are among the most detailed and impressive. 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.
CATLIN, George (1796-1872). Buffalo Hunt, Approaching a Ravine. Lithograph with original hand color. London, 1844. 16 1/4" x 22 3/4" sheet. One of the three hunters crouched in the ravine is apparently George Catlin himself. From George Catlin's North American Indian portfolio.
CATLIN, George (1796-1872). North American Indian Portfolio. 31 Lithographs with original hand color. London: Chatto & Windus, 1875. Framed Folio Set: 22 3/4" x 15 1/2" sheet, 31 3/4" x 24 1/2" framed each. A wonderful rare 1875 edition, which includes six additional plates not printed in the original 1844 edition. THE FIRST IMAGES OF THE NATIVE AMERICAN TRIBES OF THE UPPER PLAINS Chatto & Windud's records indicated that they acquired the original lithographic stones made in 1844, including six that were never printed. These six plates are: "Joc-O-Sot, the walking Bear," Mah-To-Toh-Pah, The Mandan Chief," "O-Jib-Be-Ways," "Buffaloe Hunting," "The War Dance," and "The Scalp Dance." Catlin was the first artist to travel widely among the Plains Indians of North America and create an important body of paintings and graphics to illustrate their customs and artifacts. His purpose was both unselfish and romantic. He wanted, and labored unceasingly to persuade his contemporaries that Native American culture should be honored and preserved. Comparable: Siebert, 1999 - $123,500 (3rd edition).
1844. Plate #10 from Catlin's "North American Indian Portfolio: Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America" 1844. "By this plate it will be seen that the buffaloes have other enemies than Man to contend with, and that hunting is an occupation not exclusively the province of the Indian, in those wild regions. There are several varieties of the Wolf species on the American prairies, the most numerous and formidable of which is the White Wolf, found in great numbers in a high latitude and near the Rocky Mountains. These animals are equal in size, in many instances, to the largest Newfoundland dog; and, from the whiteness of their hair, appear, at a distance on the green prairies, much like a flock of sheep, and often are seen to the number of fifty or a hundred in a pack; and in this way following the numerous herds of buffaloes from one end of the year to the other, gorging their stomachs with the carcasses of those animals that fall by the hands of the hunters, or from sickness and old age. Whilst the buffaloes are grouped together, the wolves seldom attack them, as the former instantly gather for combined resistance, which they effectively make. But when the herds are travelling, it often happens that an aged or wounded one lingers at a distance behind, and when fairly out of sight of the herd, is set upon by warms of these voracious hunters, which are sure at last to torture him to death, and use him up at a meal. During my travels in these regions, I have several times come across such gangs of these animals, surrounding and torturing an old or wounded bull, where it would seem from appearances that they had been for several days in attendance, and at intervals desperately engaged in the effort to take his life. On an occasion when one of my hunting companions and myself were returning to our encampment, with our horses laden with meat, we discovered at a distance, a huge bull encircled by a gang of wolves; we rode up as near as we could without driving them away, and halting within pistol-shot, had a good view, where I sat for a few moments upon my horse and made the sketch for this plate, in my notebook; after which we advanced, and the sneaking gang withdrew to a distance of fifty or sixty rods, when we found, to our very great surprise, that the animal had made desperate resistance until his eyes were entirely eaten out of his head; the gristle of his nose was mostly gone; his tongue was half demolished, and the skin and flesh of his legs torn almost literally into strings. In this “tattered and torn” condition the poor old veteran had stood, bracing up in the midst of his devourers, who had ceased hostilities for a few minutes, in a sort of parley, recovering strength and preparing to resume the attack in a few moments. In this group some were reclining, to gain breath, whilst others were sneaking about and licking their chaps in anxiety for a renewal of the attack; and others, less lucky, had been crushed to death by the feet or the horns of the bull. I rode nearer to the pitiable object, as he stood bleeding and trembling before me, and said to him “Now is your chance, old fellow, and you had better be off.” Though blind and nearly destroyed, he seemed to recognize a friend in me; when he straightened up, and trembling with excitement, dashed off at full speed in a straight line over the prairie. We turned our horses, resuming our march, and having advanced a mil or more, looked back, and on our left we saw the ill-fated animal again surrounded by his tormentors, to whose insatiable voracity he unquestionably soon fell a victim."
c. 1855-1860 Hand-colored lithograph. For further information or questions regarding this lot, please email us at gallery@kiechelart.com or call us at (402)420-9553.
