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.
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. #184070
An American School oil painting on canvas depicting a portrait of a Native American man after the original oil painting on canvas, Boy Chief Ojibbeway, 1843 by George Catlin, American, 1796 to 1872. Unsigned. Framed. George Catlin was an American lawyer, painter, author, and traveler, who specialized in portraits of Native Americans in the American frontier. Traveling to the American West five times during the 1830s, Catlin wrote about and painted portraits that depicted the life of the Plains Indians. American Fine Art, Southwestern Portrait Oil Paintings, Wall Art, and Collectibles. One of a kind artwork.
AFTER GEORGE CATLIN AMERICAN, 1796-1872 BUFFALO HUNT UNDER THE WHITE WOLF SKIN; BUFFALO BULL GRAZING and BUFFALO HUNT CHASE Print Later 20th century edition (3)
Portrait of James Cook (1798-1870), 1838 Oil on panel 30 x 24 3/8 inches Provenance James Cook Freeman, Chicago, by descent from the sitter Grace Lamb Freeman (daughter of the above) and Sven Svenningson Freeman Svenningson (son of the above), Montreal S. Svenningson by descent from the above Together with, a photographic portrait of James Cook, circa 1850s. Half-plate daguerreotype, with background hand-heightened in color; 4 1/2 x 3 inches. The plate is under glass, housed in a plain embossed brown calf case with hook and eye clasps and velvet lining; 5 1/2 x 4 1/2 inches. (Framed 39 x 33 1/2 inches) Inpainting throughout the background and in the sitter's right sleeve (viewer's left). The daguerreotype oxidized along the bottom and right edges, and its case is worn and rubbed with the top detached.
Included in this lot: Buffalo Hunt, White Wolves Attacking a Buffalo Bull Buffalo Hunt, on Snow Shoes Description of the work: 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 first edition folio lithograph that was published in London beginning in 1844 for George Catlin / Egyptial Hall [but Chatto & Windus]. The lithographs were printed by Day & Haghe from a selection of 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.
Included in the lot: Wounded Buffalo Bull Dying Buffalo Bull, in Snow Drift Description of the Work: 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 first edition folio lithograph that was published in London beginning in 1844 for George Catlin / Egyptial Hall [but Chatto & Windus]. The lithographs were printed by Day & Haghe from a selection of 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. Paper Size ~ 16 1/2" by 23"
George Catlin (American, 1796-1872), Two Scenes from "North American Indian Collection", Lithographs in Colors on Paper, comprising: No. 4 "Catching the Wild Horse" and No. 22 "Ball Play Dance", each signed in plate lower left, silver-tone frames. Image: 13" H x 18" W; frame: 24.5" H x 29.5" W. Provenance: From a New York City Collection. Keywords: 19th Century Art, Prints, Multiples, Native American, Figures, Figural
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 first edition folio lithograph that was published in London beginning in 1844 for George Catlin / Egyptial Hall [but Chatto & Windus]. The lithographs were printed by Day & Haghe from a selection of 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. Paper Size ~ 16 1/2" by 23"
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. #184070
Two lithographs in black with hand-coloring on wove paper, Snow Shoe Dance trimmed and mounted on card, North American Indians with label from The Old Print Shop, NY; and Buffalo Hunt Under the White Wolf Skin, lithograph in black with hand-coloring on wove paper, published by Currier and Ives; together with Carl Bodmer (1809-1893): Mahsette-Kuiuab; and Mehkskeme-Sukhas/Tatsicki-Stomick, two engravings in black with hand-coloring on wove paper. Various sizes, all 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.” 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 afolio lithograph that was published in London circa 1875 for George Catlin by Day & Haghe as part of Reese's fourth issue. 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 were printed by Day & Haghe from a selection of 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.
(American, 1796-1872) O=Jib=Be=Ways, from the North American Indian Portfolio, Day & Hague, publishers, 1844, a later edition, lithograph, sight 12-5/8 x 18-1/8 in., published in sheets approximately 22-7/8 x 17-3/4 in.; chestnut frame, 24 x 28-1/4 x 1-1/4 in. Provenance: Private Collection
A Native American oil on wood board portrait painting in the style of George Catlin. The painting originally titled No Ho Mun Ya, One Who Gives No Attention, depicts a fine portrait of a Native American man in warm colors. Framed. George Catlin, 1796 to 1872, was an American traveler, ethnographer, and painter who specialized in portraits of Native Americans on the American frontier. Antique Native American Portrait Paintings And Fine Art Collectibles.
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. #184070
Property from a Private Collection, Savannah, GA Description: George Catlin, (American, 1796-1872), Buffalo Dance, 1844-45, Lithograph, titled 'No 8 Buffalo Dance. Published at James Scherman's Lithographie Rooms, 304 Broadway, NY' lower center, 'Catlin del.' lower left, embossed stamp partially obscured by frame lower right, depicting a group of dancers in buffalo masks, matted and in a giltwood frame. Frame size: 21 1/2 in. x 26 1/2 in. Measurements: Height: by sight, 14 in. x Width: 19 in. Condition: Good condition, not viewed out of frame, light wear to frame. Notice to bidders: The absence of a condition report does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the conditions of aging. PHOTOS MAY ALSO ACT AS A CONDITION REPORT. Please review all photos closely prior to bidding. Complete condition reports are available by request, no later than 24 hours prior to the live auction. All lots are offered and sold 'AS IS’, and Everard Auctions will not provide refunds based on condition. Timepiece movements, lighting and electrics have not been tested, and art has not been examined out of the frame unless otherwise stated. We do not guarantee the condition of frames. By placing a bid, either in person, by phone, absentee or via the Internet, you signify that you agree to be bound by the conditions of sale. Everard Auctions does not provide any shipping or packing services. We recommend that all potential buyers obtain pack/ship estimates prior to bidding. Please contact us for a list of recommended shippers.
Title: Buffalo Hunt, On Snow Shoes Dimensions: 13 x 18 1/2 Framed Dimensions: 23 x 27 x 7/8 Signature: signed lower left: Catlin, del. titled lower center: Buffalo Hunt, On Snow Shoes, No. 15, Published at James Akerman's Lithographic Rooms, 304 Broadway, N.Y.
(lot of 2) George Catlin (American, 1796-1872), North American Indian Portfolio. New York: Abbeville Press, 1989, 2 volumes both elephant folios, one being a bound folio and the other being the same title in an unbound portfolio. Provenance: Estate of Meri Jaye, a renowned maritime collector and interior designer of passenger and cargo ships, Nob Hill, San Francisco
George Catlin (1796-1872) "Ojibbeways" Hand-Colored Lithograph. Inscribed near lower left "Day & Haghe". The plate depicts a group of Ojibwe (also Ojibway, O-Jib-Be-Ways or Chippewa) who traveled and performed with Catlin in the 1840s. The upper image represents a group of nine Ojibwe, and below the group portrait, the artist made profile views of each figure’s face, identified with a number. Artist: George Catlin Title: "Ojibbeways" Medium: Hand-Colored Lithograph Signature Type: Unsigned Site Measurement: 13.625" x 20.25" Sheet Keywords: Native American, Indian Artwork, Art; Ref: BD1940
Catlin, George. Letters and Notes on the Manners, Customs, and Condition of the North American Indians. London: Self published, 1841. First edition, 2 volumes. Provenance: Estate of Meri Jaye, a renowned maritime collector and interior designer of passenger and cargo ships, Nob Hill, San Francisco
(lot of 2) George Catlin (American, 1796-1872), North American Indian Portfolio. New York: Abbeville Press, 1989, 2 volumes both elephant folios, one being a bound folio and the other being the same title in an unbound portfolio. Provenance: Estate of Meri Jaye, a renowned maritime collector and interior designer of passenger and cargo ships, Nob Hill, San Francisco
[CATLIN, George (1796-1872)]. Catalogue of Catlin’s Indian Gallery of Portraits, Landscapes, Manners and Customs, Costumes…Collected During Seven Years’ Travel, Amongst Thirty-Eight Different Tribes, Speaking Different Languages. New York: Piercy & Reed, 1837. 12pp. (of 36), 8vo (184 x 114 mm). (Spotting). -- [With:] a 1pp. extract from a 29th Congress, 1st Session, Senate issue, regarding the “Memorial of George Catlin, Praying Congress to purchase his collection of Indian portraits and curiosities”. Catlin was an American painter, author, and traveler known for his significant contributions to the documentation of Native American cultures in the 19th century. Born in Wilkes-Barre, Pennsylvania, Catlin is best remembered for his extensive travels across the American West between 1830 and 1836, where he lived among and painted portraits of various Native American tribes. His artworks provide a valuable and often sympathetic insight into the diverse indigenous cultures, traditions, and ceremonies of the time. Catlin’s dedication to preserving the vanishing way of life of Native Americans led him to propose the establishment of a national park to protect their land and culture, an idea that anticipated the later conservation movement. His extensive collection of paintings, artifacts, and writings is now housed in the Smithsonian American Art Museum.
CATLIN (George) Letters and Notes on the Manners, Customs, and Condition of the North American Indians, 1841, 8vo, vol. I only (of 2), 75 plates, ex. library, heavily used and age stained, binding broken. Sold as a collection of plates, not subject to return.
Group of 3 Hand Colored Steel Engravings on Paper. George Catlin (1796-1872) American. All printed around 1855 by H. Bailliere NY and London depicting Native Americans. Titled Strong Wind, The Mink, and A cherokee Warrior Chief. Overall Size: 17 1/4 x 13 in, Sight Size: 8 1/4 x 5 1/2 in. #2035 Location Box 3
George Catlin American, (1796-1872) Black Hawk, A Sauk Cheif, and Nah-Pope a Sauk Warrior, 1855 lithographs, hand colored matted, unframed. Chicago's hockey team was named after the Sauk Indian Chief Black Hawk.
George Catlin (1796 - 1872) Group of Three Chromolithographs, ca. 1880-1913 lithograph Kee-o-kúk, Chief of the Tribe printed upper right: 156 printed lower left: G. Catlin printed lower center: 280 Going to and Returning from Washington printed lower left: G. Catlin White Buffalo: Blackfoot Medicine Man printed upper right: 10 printed lower left: G. Catlin printed lower center: 15
George Catlin (1796 - 1872) Buffalo Hunt, Under the White Wolf Skin, ca. 1844 lithograph Plate 13 from George Catlin's North American Indian Portfolio, a suite of twenty-five bound lithographs on wove paper (1844). inscribed lower left: Catlin, del_on Stone by McGahey. titled lower center: No 13 / BUFFALO HUNT, UNDER THE WHITE WOLF SKIN. / (from Catlin's N.A. Indian Collection.) inscribed lower right: Day & Haghe Lithrs. to the Queen
George Catlin (1796 - 1872) North American Indians, ca. 1844 lithograph Plate 1 from George Catlin's North American Indian Portfolio, a suite of twenty-five bound lithographs on wove paper (1844). printed lower left: Catlin del er Lith printed lower right: Day & Hague Lith to the Queen
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 first edition folio lithograph that was published in London beginning in 1844 for George Catlin / Egyptial Hall [but Chatto & Windus]. The lithographs were printed by Day & Haghe from a selection of 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. Paper Size ~ 16 1/2" by 23"
Western Art and Design from Bar Cross Ranch, Wyoming George Catlin 1796 - 1872 Stampede of a Buffalo Herd oil on canvas 19 by 26 ¾ in. 48.3 by 67.9 cm. Executed circa 1846-48.
Western Art and Design from Bar Cross Ranch, Wyoming George Catlin 1796 - 1872 Tuch-ee, A Celebrated War Chief of the Cherokees inscribed Cherokee Chief (lower center); numbered 284 (upper right) watercolor and pencil on paper 9 ⅝ by 6 ⅞ in. 24.4 by 17.5 cm. Executed circa 1834.
Western Art and Design from Bar Cross Ranch, Wyoming George Catlin 1796 - 1872 Buffalo Chase, A Surround by the Hidatsa oil on canvas laid down on Masonite 23 by 27 ½ in. 58.4 by 69.9 cm. Executed in 1830-32.
Western Art and Design from Bar Cross Ranch, Wyoming George Catlin 1796 - 1872 North American Indians inscribed Osage Warrior. Iroquois. Pawnee Woman. and titled (lower center) watercolor and pencil on paper laid down on canvas 17 ½ by 14 in. 44.5 by 35.6 cm.
![[CATLIN, George (1796-1872)]. Catalogue of Catlin’s Indian ...](https://stageimg.invaluable.com/housePhotos/Potter_Potter/41/767541/H4052-L366847856.jpg)
