Resultados de búsqueda: Native Americans from Donald Heald Rare Books

Paris, Coblentz and London, 1842. Aquatint engraving by Himely after Bodmer, proof before all letters. Light soiling to upper and left outer blank margins. A very rare proof before letters. Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. The present view recalls the events of 5th August when the keelboat stopped opposite an Atsina camp at the mouth of the Judith River. The camp contained over 200 tipis and the boat was soon overrun by visitors wishing to trade. The Indians far outnumbered the party of travelers and the situation remained chaotic and tense for a while: Prince Maximilian, in his journal entry for the day noted that `If it was their intention to treat us in a hostile manner, there was no way for us to escape; and how easily might the most trifling dispute with these rude men lead to a breach, by which fifty whites, in the power of eight or nine hundred Indians, would have had no… Leer más

[Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Himely after Bodmer. Small tears to upper margin not affecting plate area. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) Prince Maximilian and his party left Fort Union on 6 July aboard the 60-foot keelboat Flora and eventually arrived at Fort McKenzie on 9 August 1833. The present view recalls the events of 5th August when the keelboat stopped opposite an Atsina camp at the mouth of the Judith River. The camp contained over 200 tipis and the boat was soon overrun by visitors wishing to trade. The Indians far outnumbered the party of travelers and the situation remained chaotic and tense for a while: Prince Maximilian, in his journal entry for the day noted that `If it was their intention to treat us in a hostile… Leer más

London: Day & Son, 1860. Hand-finished colour-printed lithograph, drawn on stone by J. M'Gahey of Chester after George Catlin, printed by Day & Son, within a lithographed thin single line border printed in ochre, with lithographed title printed in black beneath. Sheet size: 18 x 25 1/8 inches. A very rare print from the rarest of Catlin's pictorial publications. When the United States Senate rejected an 1852 bill proposing the purchase for the nation of George Catlin's "Indian Gallery," the artist was bankrupted and lost virtually all of the paintings and drawings that he had used in his exhibitions. In order to raise funds, Catlin proposed an expedition to market Samuel Colt's firearms. Colt was eager to publicize his new revolving pistols and rifles and to have them adopted by the United States Army, and he commissioned Catlin to "paint a series of twelve pictures showing Colts being employed in the field. The terms of their agreement are unclear, but Catlin completed the order by 1857, and the… Leer más

London: C. and J. Adlard for George Catlin, Egyptian Hall, 1844. Folio. (23 x 16 1/2 inches). [Pp.1-2] letterpress title (verso blank); [pp. 3-4] To the Reader; pp.[5-]20 text. 25 hand-colored lithographs, on thick paper, after Catlin, drawn on stone by Catlin (2) or McGahey (23), printed by Day and Haghe. Publisher's half brown morocco and brown cloth boards, upper cover lettered in gilt, pale green endpapers, within a chemise in a modern red quarter morocco clamshell box First edition, hand-colored issue, of Catlin's Portfolio, a key work for any serious collection of Western Americana. Catlin published the first two issues of the North American Indian Portfolio simultaneously in late November 1844. The first issue was hand-colored, and the second had tinted plates. Catlin originally envisaged publishing a series of linked but separate portfolios, each with its own theme: religious rites, dances, costumes, etc. The first series was the only one that was ever published, and its production proved… Leer más

Paris, Coblenz and London, 1842. Aquatint engraving by Lucas Weber after Bodmer, proof before all letters, issue with one figure at the rail on the right hand side of the deck of the paddle-steamer, extensive use of aquatint on the river and scrub and small trees next to the boat on the far right. A very rare proof before letters, depicting an Ohio steamer flanked by three paddleboats. En route to St.Louis, Missouri, Bodmer, Prince Maximilian and Dreidoppel traveled via the Ohio river. About twenty-five miles beyond Shawnee Town, Bodmer sketched this intriguing geological rock formation known as Cave-In-Rock on the Illinois side of the river near Cave-In-Rock Island, which is today part of a National Park. Keelboats and ships transporting goods passing by this historic point were often attacked by pirates waiting to rob their cargo. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon… Leer más

Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Lucas Weber after Bodmer, blindstamp, issue with one figure at the rail on the right hand side of the deck of the paddle-steamer. A beautiful scene depicting an Ohio steamer flanked by three keelboats, all caught against a late evening sky. En route to St.Louis, Missouri, Bodmer, Prince Maximilian and Dreidoppel traveled via the Ohio river. About twenty-five miles beyond Shawnee Town, Bodmer sketched this intriguing geological rock formation known as Cave-In-Rock on the Illinois side of the river near Cave-In-Rock Island, which is today part of a National Park. Keelboats and ships transporting goods passing by this historic point were often attacked by pirates waiting to rob their cargo. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu… Leer más

[Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Lucas Weber after Bodmer, issue with five figures at the rail on the right hand side of the deck of the paddle-steamer, engraving only on the river and a reed bed next to the boat on the far right. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) En route to St.Louis, Missouri, Bodmer, Prince Maximilian and Dreidoppel traveled via the Ohio river. About twenty-five miles beyond Shawnee Town, Bodmer sketched this intriguing geological rock formation known as Cave-In-Rock on the Illinois side of the river near Cave-In-Rock Island, which is today part of a National Park. Keelboats and ships transporting goods passing by this historic point were often attacked by pirates waiting to rob their cargo. Karl Bodmer's images… Leer más

Paris, Coblenz and London, 1842. Aquatint engraving by Hürlimann after Bodmer, blind stamp. A fine half-length triple portrait by Bodmer of two Blackfoot chiefs and a Kutenai (Kootenay or Kootenai) leader who lived amongst the Blackfoot. The figure to the left is Stomíck-Sosáck [`Bull's Hide' or `Bull's Back Fat'], an important Blood Blackfoot chief, who was probably about 50 at the time this portrait was done at Fort McKenzie in September 1833. The middle figure Nínoch-Kiäiu [`Chief of the Bears'], was a Piegan Blackfoot chief. He was an arrogant, aggressive person who was unpopular with both the Indians and the officials at the fort. Wrapped in a robe, he is very simply dressed for this portrait because he is in mourning for his dead nephew, killed near the fort by Blood Indians. The figure on the far right is Hómach-Ksáchkum, a Kutenai who had made his home amongst the Piegan Blackfoot for some time and had become a respected leader. A friendly person, he and Prince Maximilian talked at… Leer más

Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Hurlimann, blindstamp. Excellent condition apart from a skillfully repaired tear from bottom edge to 1 1/2" within platemark. Large margins. A fine half-length triple portrait by Bodmer of two Blackfoot chiefs and a Kutenai (Kootenay or Kootenai) leader who lived amongst the Blackfoot. The figure to the left is Stomíck-Sosáck [`Bull's Hide' or `Bull's Back Fat'], an important Blood Blackfoot chief, who was probably about 50 at the time this portrait was done at Fort McKenzie in September 1833. The middle figure Nínoch-Kiäiu [`Chief of the Bears'], was a Piegan Blackfoot chief. He was an arrogant, aggressive person who was unpopular with both the Indians and the officials at the fort. Wrapped in a robe, he is very simply dressed for this portrait because he is in mourning for his dead nephew, killed near the fort by Blood Indians. The figure on the far right is Hómach-Ksáchkum, a Kutenai who had made his home amongst the Piegan… Leer más

Philadelphia: E.C. Biddle, 1837. Hand-coloured lithograph. Excellent condition. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. In addition to caring for their children, Chippewa women were expected to forage for food, prepare meals, and frequently participate in hunts, often carrying heavy burdens. McKenney's compassion for the hardships endured by Indian women is reflected in this sympathetic portrayal of a Chippewa squaw carrying a sleeping child on her back. The Chippewa (Ojibwa) were the most widespread and powerful tribe in the Great Lakes area and primarily inhabited the Northeastern region of North America. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the… Leer más

Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph. A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. In addition to caring for their children, Chippewa women were expected to forage for food, prepare meals, and frequently participate in hunts, often carrying heavy burdens. McKenney's compassion for the hardships endured by Indian women is reflected in this sympathetic portrayal of a Chippewa squaw carrying a sleeping child on her back. The Chippewa (Ojibwa) were the most widespread and powerful tribe in the Great Lakes area and primarily inhabited the Northeastern region of North America. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird… Leer más

Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph by Lehman & Duval after Charles Bird King's portriat of 1821. In excellent condition. A fine image of an Oto chief from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. This early impression of Chon-Ca-Pe, published by E. C. Biddle, is a classic Native American portrait capturing, as many do not, the majestic calm of the sitter. He was known as Big Kansas and called Big Kaw. He was an Oto chief with several wives and a powerful temper. He visited Washington in 1821 with sixteen other leaders of Upper Missouri tribes: the Kansa, Missouri, Omaha, Pawnee and Oto. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles… Leer más

Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph. An early impression and fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life. Chonmanicase, more commonly known as Shaumonekusse, which means Prairie Wolf, was among the first delegation of Plains Indians to visit Washington in 1821. He was outshone by his wife, Hayne Hudjihini, a beautiful eighteen year old, who attracted the attention of President Monroe and his cabinet. Nevertheless, Chonmanicase inspired respect through his dignity and eagerness to learn English. Soon after their return to their native land, Hayne Hudjihini died of the measles. Chonmanicase was devastated and refused to eat. He survived however and lived another twenty years or so. McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its… Leer más

Paris, Coblenz and London, 1842. Steel engraving by Aubert père after Bodmer, proof on india paper mounted, blindstamp. Mount spotted. A steamship, with a cloud of black smoke, sails by the Cleveland Lighthouse on Lake Erie. A rare India proof of this fine atmospheric view by Bodmer sketched during the traveller's homeward journey. Having left Fort Clark on 18 April 1834, they retraced their steps to St.Louis, leaving on 3 June for Mount Vernon and New Harmony, before turning North to Vincennes, Indiana. Travelling eastwards from here they arrived again on the Ohio opposite Louisville, Kentucky, took a ship to Cincinnati and Portsmouth, and from Portsmouth followed the route of the Ohio Canal along the Scioto River northward to Cleveland on Lake Erie where this scene was captured by Bodmer. From here they continued on to Buffalo, New York. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood… Leer más

Paris, Coblenz and London, 1842. Hand-coloured steel engraving by Aubert père after Bodmer, proof before letters on india paper mounted. Mount browned, small repaired tear to lower blank margin not affecting plate area. A very rare India proof before letters. A fine atmospheric view by Bodmer sketched during the traveller's homeward journey. Having left Fort Clark on 18 April 1834, they retraced their steps to St.Louis, leaving on 3 June for Mount Vernon and New Harmony, before turning North to Vincennes, Indiana. Travelling eastwards from here they arrived again on the Ohio opposite Louisville, Kentucky, took a ship to Cincinnati and Portsmouth, and from Portsmouth followed the route of the Ohio Canal along the Scioto River northward to Cleveland on Lake Erie where this scene was captured by Bodmer. From here they continued on to Buffalo, New York. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little… Leer más

Boston: Suffolk Engraving Company, 1930. Photogravure after Edward Curtis, printed by the Suffolk Engraving Company, wove paper (watermarked 'Van Gelder Zonen Made in Holland'). Excellent condition. A breath-taking image from "The North American Indian", the grandest illustrated work ever produced in the United States, the most important illustrated work on Native Americans, and the single greatest book in Western Americana. Only the double-elephant folio edition of Audubon's "Birds of America" surpasses Curtis in its massive ambition and beauty of execution. "...Because of the singular combination of qualities with which he has been blessed, and because of his extraordinary success in making and using his opportunities... (Curtis) has been able to do what no other man has ever done; what, as far as we can see, no other man could do. He is an artist who works out of doors and not in a closet. He is a close observer, whose qualities of mind and body fit him to make his observations out in the field,… Leer más

[Leipzig: Schmidt and Guenther, 1922. Aquatint engraving by Weber after Bodmer. From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18) A highly dramatic scene that amply displays Bodmer's love of the natural landscape. A day's excursion on a little frequented tributary of the Wabash draws to a close, the light is fading, the artist leaves his canoe wedged against a half-submerged tree-trunk long enough to make one final sketch before heading home. A Turkey Vulture settles down to roost. During Prince Maximilian's five month stay at New Harmony, Indiana, Bodmer had ample opportunity to explore the surrounding landscape. The present view was probably carried out in late November or early December 1832. Karl Bodmer's images show great versatility and technical virtuosity and give us a… Leer más

Paris, Coblenz and London, 1842. Aquatint engraving by Weber after Bodmer, proof on india paper mounted, blindstamp. A rare India proof of this highly dramatic scene that amply displays Bodmer's love of the natural landscape. A day's excursion on a little frequented tributary of the Wabash draws to a close, the light is fading, the artist leaves his canoe wedged against a half-submerged tree-trunk long enough to make one final sketch before heading home. A Turkey Vulture settles down to roost. During Prince Maximilian's five month stay at New Harmony, Indiana, Bodmer had ample opportunity to explore the surrounding landscape. The present view was probably carried out in late November or early December 1832. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a… Leer más

Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Weber after Bodmer, blindstamp. A highly dramatic scene that amply displays Bodmer's love of the natural landscape. A day's excursion on a little frequented tributary of the Wabash draws to a close, the light is fading, the artist leaves his canoe wedged against a half-submerged tree-trunk long enough to make one final sketch before heading home. A Turkey Vulture settles down to roost. During Prince Maximilian's five month stay at New Harmony, Indiana, Bodmer had ample opportunity to explore the surrounding landscape. The present view was probably carried out in late November or early December 1832. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America,… Leer más

Paris, Coblenz and London, 1842. Hand-coloured aquatint engraving by Hürlimann after Bodmer, blindstamp. Bodmer painted this scene during the winter of 1833-4 which he and Prince Maximilian spent at Fort Clark, between the Knife and Heart Rivers in the territory of the Mandans and the Hidatsas. The Mandans had two sites for their main villages: one occupied in the winter, the second in the summer. The scene depicted was probably executed in February when the move from the winter village began. The sledge was constructed from two long flat boards laced together lengthwise with thongs, four slender crossbars provided stability. The front end was bent upwards and secured in place to the body of the sledge by stout leather cords. Dogs were the preferred beast-of-burden over horses as they were lighter (over thin ice and the snow-crust) and apparently had more stamina. Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a… Leer más