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Catlin, George. Letters and Notes on the Manners, Customs, and Condition of the North American Indians(2 Volume Set). David Bogue, 1844.

Price: US$400.00 + shipping

Condition: Good

Description: Fourth Edition stated. Rebound in new boards and sturdy black cloth with gilt to type on spine. Previously in library circulation with minimal marks - only stamps to title pages and pastedowns with numbers in pencil and small stickers to rear pastedowns of both volumes. A couple very small pieces of tape to title pages. Some moisture staining to bottom edge of frontispiece for volume 1. No frontispiece to volume 2. No pockets or due slips. Intermittant foxing throughout, though not excessive. Folding map following Table of Contents to volume 1 chipped to front edge with larger chip at bottom edge and a number of short tears/nicks. Also, splits to top and bottom of one crease, but still holding. Illustrated throughout in black and white.

Seller: Lost Paddle Books, IOBA, Albany, CA, U.S.A.

CATLIN, George (1796-1872). [Dying Buffalo Bull in a Snow Drift. C. and J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$600.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Hague. From Catlin's 'North American Indian Portfolio', one of the most important accounts of native-American life. "In this view the reader is introduced to the optimum of. severity which the hunters of the northern prairies have to contend with in the depths of winter. An intensely cold day, with dry and sand-like snow three or four feet in depth, drifting before the wind, and a herd of buffaloes labouring to plough their way through it, whilst they are urged on by a party of Indians on snow-shoes, deeply clad in furs. The. bull in the foreground of this picture. [was] carefully sketched by my own hand. and I therefore confidently offer them as faithful delineations of their forms and looks, as well as fit and impressive subjects for contemplation for those who may ever have the time, and feel disposed to sympathize with. this useful and noble animal." 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. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

Catlin, George:. Letters and Notes on the Manners, Customs, and Condition of the North American Indians.. London: David Bogue, 1844., 1844.

Price: US$779.60 + shipping

Description: Written During Eight Years' Travel (1832-1839) Amongst the Wildest Tribes of Indians in North America. Fourth edition. In Two Volumes. With Several Hundred Illustrations From the Author's Original Paintings. Volume I - Frontispiece - line drawing 'The Author Painting a Chief, at the Base of the Rocky Mountains' and folding map (loose) - Outline Map of Indian localities in 1833. Horizontal tear of approx. 6 inches across map. Some light browning on map. viii, 264 pp. 114 detailed line drawing illustrations by author. A series of 31 letters detailing the author's travels including author's background, Mouth of Yellow Stone (Indian Tribes in Vicinity, Buffalo and Buffalo Hunting, Blackfoot Indians, Their Scalps, Pipes, Weapons, Medicines and Mysteries, Medicine-bag, Medicine-men, Crow Indians, Camps, Horse-Stealing, Indian Language), Mandan Village Upper Missouri (Grizzly Bears, Elk-Hunting, Clay-Bluffs, Description on Mandan Village, Wigwams, Weapons, Indian Jokes and Story-Telling, Indian Dead and their Treatment, Polygamy, Marriage, Cooking, Dancing, Rain-making, Mandan Archery, Mandan Chiefs, Mandan Religious Ceremonies), Minatree Village (Crow Indians), Mouth of Teton River (Mississippi and Missouri Sioux, Fort Pierre, Portraits of Sioux Chiefs, Voluntary Torture, Religious Ceremony, Peace Pipes, Tomahawks and Scalping Knives, Indian Weapons and Musical Instruments, Bison Habits and Hunting, Contemplation of Probable Extinction of Buffaloes and Indians). Spots of foxing on prelims. Patches of browning intermittently throughout text and plates. Small piece missing from bottom corner of pp 257 but no loss of text. Both hinges cracked. Pale yellow eps. Previous owner's bookplate on fep. ffep and frontispiece almost loose. Volume II - viii, 266 pp. Frontispiece - United States' Indian Frontier in 1840, Showing the Positions of the Tribes that have been Removed West of the Mississippi. Letter 32 - 58 + Appendix. Including accounts of Shiennes, Mouth of Platte, Burning Praries, Ioways, Konzas, Pawnees, Smallpox, St. Louis, Camanchee Country, Fort Gibson, False Washita, Great Camanchee Village Texas, Pawnee Village, Camp Canadian, Osages, Kickapoos, Flatheads, Chinooks, Choctaws, Shawanos, Upper Mississippi, Chippeways, Red Pipe Stone, North West Frontier, Probable Origin of Indians, Languages, Government, Religion, Picture-writing, Songs and Totems, Policy of Removing the Indians, Trade and Small-pox. Illustrations 115-312 on plates. One plate almost loose. ffep and frontispiece almost loose. Hinges cracked. Previous owner's bookplate on fep. Patches of foxing intermittently throughout text and on plates. Both Vols - Dark green cloth boards with gilt lettering on spines. Blindstamp decoration on boards and spines. Vol I - two short splits at top of spine c 1cm. Top, bottom and edge of spine rubbed. Corners rubbed. Vol II - Split of about two inches at top of spine at rear board. Top and bottom of spine and corners rubbed. Overall condition VG. Early edition.

Seller: Owl Books, County Leitrim, Ireland

Catlin, George. Letters and Notes on the Manners, Customs and Condition of the North American Indians 2 Volumes. David Bogue, London, 1844.

Price: US$950.07 + shipping

Condition: Very Good

Description: Nice two volume set bound in brown blind stamped cloth with bright gilt spine titles. Vol 1: light foxing to frontis and very occasionally on a few of the other illustrations, pages bright, folding map nice, 1/2" tear at the top of spine, viii, 264, illustrations 1-114. Vol 2:2" closed split at front gutter, 1" at back gutter, pages quite bright and clean, illustrations nice with quite occasional minor foxing, illustrations 115-312 plus 2 maps.

Seller: Kerkhoff Books DIV KSI, Warsaw, IN, U.S.A.

CATLIN, George (1796-1872). Buffalo Hunt, White Wolves Attacking a Buffalo Bull. C. & J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$1000.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Haghe. Very small paper loss to the lower right corner. Image size: 11 7/8 x 17 13/16 inches. A fine, dramatic image from the First Edition of Catlin's 'North American Indian Portfolio,' one of the most important accounts of Indigenous American life. This dramatic scene is compellingly described Catlin's account of his encounter with the bull. While riding with his hunting companions, the artist spotted the group of White Wolves, "the most numerous and formidable" of all the wolf species in the American prairies, surrounding an enormous bull that had been badly attacked. From a distance, Catlin sketched the group, which he had "several times come across such gangs of these animals, surrounding.a wounded bull, where it would seem from appearances that they had been for several days in attendance.In this group some were reclining, to gain breath, whilst others were sneaking about.in anxiety for a renewal of the attack; and others, less lucky, had been crushed.by the feet or the horns of the bull." As the gang of wolves temporarily dispersed, Catlin rode nearer to the bull and said, "'Now is your chance, old fellow, and you had better be off.'" Catlin further recounts, "he seemed to recognize a friend in me;.he straightened up, and trembling with excitement, dashed off at full speed in a straight line over the prairie." Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

George Catlin. LETTERS AND NOTES ON THE MANNERS, CUSTOMS, AND CONDITIONS OF NORTH AMERICAN INDIANS In 2 Volumes. David Bogue, London, 1844.

Price: US$2084.45 + shipping

Description: Both Volumes Very Good in boards. Front hinge of both volumes cracked. Faint foxing throught texts of both volumes. Vol. I 2nd FEP repaired at top by previous owner.

Seller: Rare Book Cellar, Pomona, NY, U.S.A.

[Catlin, George]. JOC-O-SOT, THE WALKING BEAR, A SAUK CHIEF FROM THE UPPER MISSOURI. Geo. Catlin, London, 1844.

Price: US$2500.00 + shipping

Description: Lithograph, colored in aquatint. 18 x 12½ inches. Large folio. Slight discoloration, else a very nice copy. This portrait is one of the extra, unnumbered plates from CATLIN'S NORTH AMERICAN INDIAN PORTFOLIO. A striking portrait of a standing chief holding a spear. WAGNER-CAMP 105a.

Seller: William Reese Company - Americana, New Haven, CT, U.S.A.

Catlin, George. THE SNOW-SHOE DANCE. London, 1844.

Price: US$2500.00 + shipping

Description: Colored lithograph. Uniformly toned, but good. Matted and framed. A plate from CATLIN'S NORTH AMERICAN INDIAN PORTFOLIO, depicting a dance observed by Catlin during his western travels in 1832.

Seller: William Reese Company - Americana, New Haven, CT, U.S.A.

CATLIN, George (1796-1872). Buffalo Hunt on Snow Shoes. C. and J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Hague. A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of Native American life. "In this plate is illustrated the mode. of the Indians hunting in the depth of the winter, running on their snow-shoes, which support them on the surface of the snow, whilst the great weight of the buffalo and other animals sinks them down and fastens them in the drifts of the snow." [From Catlin's text, North American Indian Portfolio.] 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. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). Buffalo Hunt, Surround. C. & J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Haghe. Image size: 12 1/8 x 17 3/4 inches. A fascinating depiction of a collaborative method of hunting from the First Edition of Catlin's 'North American Indian Portfolio,' one of the most important accounts of Indigenous American life. "After the preliminaries of the chase have been gone through. and the hunting party have reached the vicinity of the herd, scenes like the one represented in this illustration often occur. On one occasion I was invited by the Indians to ride out and witness their attack on a herd of buffaloes, near one of their villages on the Upper Missouri, in the summer of 1832: I sat on my horse and witnessed a scene of this kind; a mode of attacking the buffaloes which they call Wa-rahs-took-kee, a surround." Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). Buffalo Hunt, Chasing Back. C. & J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Haghe. Image size: 12 1/8 x 17 9/16 inches. A fine image from the First Edition of Catlin's 'North American Indian Portfolio,' one of the most important accounts of Indigenous American life. "Turn about is fair play," according to an old and familiar adage; and this wild and thrilling scene personifies this idea almost literally for the viewer to admit the justness of its application. The.bull often turns upon its assailant, and runs him back, over the whole ground; in which unpleasant reverse he has but to balance himself upon his little horse, praying for smooth ground under its feet, and deliverance from the fury that is behind him. The picturesque and jagged outline of hills only requires the background of a dark, lurid cloud; and if viewed from a distance it will need but little stretch of the imagination to conceive it to be a magnificent castle, fit for the residence of the proudest monarch on earth. The man depicted is thought to have been Sir Charles A. Murray. who traveled in this region 1834-36. Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey, Travel, 653; Field, Indian Bibliography, 258; Howes, C-243; McCracken, 10; Sabin, 11532; Wagner-Camp, 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). Antelope Shooting. C. and J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Hague. A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of Native American life. "These beautiful and delicate little animals seem to be endowed, like many other 'gentle and sweet-breathing creatures', with an undue share of curiosity.; and the hunter who wishes to entrap them easily does so without taking the trouble of travelling after them. For this purpose, when he has been discovered by them, he has only to elevate above the tops of the grass, on the point of an arrow or his ramrod stuck in the ground, a little red or yellow flag, the lightness of which will keep it trembling in the wind, to which they are sure to advance, though with great coyness and caution; whilst the hunter lies close, at a little distance to the right or the left, with his rifle or bow in his hand. In the landscape view in this plate, (which. is a picture from Nature,) a striking resemblance is seen to the noble Park scenery in England; and the resemblance is forcibly heightened by the group that is dancing over it." 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. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey Travel 653; Field Indian Bibliography 258; Howes C-243; McCracken 10; Sabin 11532; Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). Buffalo Hunt, Chasing Back. C. & J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Haghe. Image size: 12 1/8 x 17 9/16 inches. A fine, dynamic image from the First Edition of Catlin's 'North American Indian Portfolio,' one of the most important accounts of Indigenous American life. "Turn about is fair play," according to an old and familiar adage; and this wild and thrilling scene personifies this idea almost literally for the viewer to admit the justness of its application. The.bull often turns upon its assailant, and runs him back, over the whole ground; in which unpleasant reverse he has but to balance himself upon his little horse, praying for smooth ground under its feet, and deliverance from the fury that is behind him. The picturesque and jagged outline of hills only requires the background of a dark, lurid cloud; and if viewed from a distance it will need but little stretch of the imagination to conceive it to be a magnificent castle, fit for the residence of the proudest monarch on earth. The man depicted is thought to have been Sir Charles A. Murray. who traveled in this region 1834-36. Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Abbey, Travel, 653; Field, Indian Bibliography, 258; Howes, C-243; McCracken, 10; Sabin, 11532; Wagner-Camp, 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). The Snow-Shoe Dance. C. & J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$3750.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Haghe. Small paper losses at lower corners. Image size: 12 1/8 x 17 7/8 inches. A dynamic scene of the Snow-Shoe Dance from the First Edition of Catlin's 'North American Indian Portfolio', one of the most important accounts of Indigenous American life. "This picturesque scene is called by [the Indigenous people] the "Snow-Shoe Dance," Catlin explains, "as it is danced with the snow-shoes on their feet, around an ornamented pair of the same, which are elevated, with the appropriate flags and spears of the band." Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Bennett 22; McCracken 10A; Reese American Color Plate Books 25; Sabin 11532 note; Wagner-Camp 105a: 3.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872). North American Indians. C. and J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$5500.00 + shipping

Description: Hand-coloured lithograph, on thick paper, after Catlin, drawn on stone by McGahey, printed by Day & Hague. Image size: 17 1/2 x 13 inches. Sheet size: 23 7/16 x 16 1/2 inches. A fine image from Catlin's 'North American Indian Portfolio', one of the most important accounts of Native American life. Catlin here combines three distinct portraits for the introductory plate to his North American Indian Portfolio which otherwise details hunting scenes and other aspects of Indian life. As Catlin writes: "The group in Plate 1 is composed of three Portraits from my Collection, representing three different tribes of various latitudes, and well illustrating a number of the leading characteristics of this interesting part of the human family." All three figures, an Osage Warrior, an Iroquois, and a Pawnee woman, are shown in modes of dress and ornamentation for cool weather, exhibiting the characteristic differences of the various tribes. Catlin summarized the Indigenous peoples he encountered as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless, - yet honourable, contemplative and religious beings." 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." From 1832 to 1837, Catlin 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 in the sympathetic understanding that his images constantly demonstrate. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. The present image is one of the results of this publishing venture and is both a work of art of the highest quality and a fitting memorial to a vanished way of life. Cf. William S. Reese, The Production of Catlin's North American Indian Portfolio, 1844-1876.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

George Catlin. Buffalo Hunt, Chasing Back taken from The North American Indian Portfolio. Printed by Day & Haghe, Lith. to the Queen, London., London and New York 1844 and 1845, 1844.

Price: US$6500.00 + shipping

Condition: Very Good

Description: The North American Indian Portfolio George 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. During the 1830's, Catlin gathered artifacts and turned his sketches and recollections of the prairie into paintings. These were shown in 'Catlin's Indian Gallery' which drew enormous crowds in Philadelphia, New York, Washington, Boston and, finally, London and the Continent. In 1844, Catlin issued 'The North American Indian Portfolio' to further publicize his cause. The lithographs ranged from portraits to tribal ceremonies, from the anecdotal to the idealized. Above all, his pictures emphasized 'the struggle for survival that was thought to shape the force and independence of savage character' (Tyler, 'Prints of the American West', p.31). Publication City: London and New York Medium: Hand-colored lithographs Dimensions: 16.5 x 23 inches (page size) Date: 1844 and 1845

Seller: Arader Galleries of Philadelphia, PA, Philadelphia, PA, U.S.A.

George Catlin. Buffalo Hunt, Approaching In A Ravine taken from The North American Indian Portfolio. Printed by Day & Haghe, Lith. to the Queen, London., London and New York 1844 and 1845, 1844.

Price: US$8000.00 + shipping

Condition: Very Good

Description: The North American Indian Portfolio George 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. During the 1830's, Catlin gathered artifacts and turned his sketches and recollections of the prairie into paintings. These were shown in 'Catlin's Indian Gallery' which drew enormous crowds in Philadelphia, New York, Washington, Boston and, finally, London and the Continent. In 1844, Catlin issued 'The North American Indian Portfolio' to further publicize his cause. The lithographs ranged from portraits to tribal ceremonies, from the anecdotal to the idealized. Above all, his pictures emphasized 'the struggle for survival that was thought to shape the force and independence of savage character' (Tyler, 'Prints of the American West', p.31). Publication City: London and New York Medium: Hand-colored lithographs Dimensions: 16.5 x 23 inches (page size) Date: 1844 and 1845

Seller: Arader Galleries of Philadelphia, PA, Philadelphia, PA, U.S.A.

CATLIN, George (1796-1872). Catlin's North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. C. and J. Adlard for George Catlin, Egyptian Hall, London, 1844.

Price: US$95000.00 + shipping

Description: (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 to be so taxing both financially and physically that Catlin sold both the publication and distribution rights to Henry Bohn. Catlin's North American Indian Portfolio contains the results of his years of painting, living, and traveling among the Great Plains Indians. Catlin summarized the Native American as "an honest, hospitable, faithful, brave, warlike, cruel, revengeful, relentless - yet honorable, 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. A selection of the greatest of images from this record were published in the North American Indian Portfolio in an effort to reach as wide an audience as possible. In addition to publishing the present work, Catlin also spent from 1837 to 1852 touring the United States, England, France, and Holland with his collection of paintings and examples of Indian crafts, accompanied by representative members of the Indian tribes. A highly important record of a "truly lofty and noble race . . . A numerous nation of human beings . . . three-fourths of whose country has fallen into the possession of civilized man . . . twelve million of whose bodies have fattened the soil in the mean time; who have fallen victims to whiskey, the small-pox, and the bayonet." [Catlin] Abbey, Travel 653. Field 258. Howes C-243. McCracken 10. Reese, The Production of Catlin's North American Indian Portfolio, 1844-1876, passim. Sabin 11532. Wagner-Camp 105a:1.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.

CATLIN, George (1796-1872).. North American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Praries of America.. London: Geo. Catlin, Egyptian Hall, [1844]., 1844.

Price: US$115000.00 + shipping

Description: "Folio. (23 4/8 x 18 inches). 25 EXCEPTIONALLY FINE lithographs on thick paper after drawings by Catlin, drawn on stone by Catlin and McGahey, printed by Day & Haghe and HAND-COLOURED. 19th-century half crimson morocco (waterstained). THE FIRST IMAGES OF THE NATIVE AMERICAN TRIBES OF THE UPPER PLAINS First edition. George 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. During the 1830's, Catlin gathered artifacts and turned his sketches and recollections of the prairie into paintings. In 1827, George Catlin, an illustrator from Philadelphia, became the first artist to attempt the perilous journey up the Missouri River, and the first to create visual records of his experiences traveling among the Plains Indians of North America. The artist himself best expressed his goal in the preface to the first edition of his North American Indian Portfolio: "The history and customs of such a people, preserved by pictorial illustrations, are themes worthy 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." Over the next eight years, Catlin would travel extensively throughout the Western Plains of America doing just that, and accumulating his "Indian Gallery", which consisted of hundreds of oil paintings he executed presenting the appearances and customs of the 48 different tribes of Native Americans he encountered during his journey. Catlin began to display his Indian Gallery in 1837, touring it in the United States for the next two years before taking the show to London. Having established a name for himself with the success of the Indian Gallery, Catlin turned his attention to finishing his first book, "The Manners, Customs, and Condition of the North American Indians " which first appeared in the fall of 1841. This book was to become one of the most important works on American Indians published in the 19th century. Catlin's project filled a great need. After Lewis & Clark's celebrated expedition up the Missouri River into the Pacific Northwest, Europeans read avidly of the sights and experiences of the voyage. They traced the route followed by the explorers, using the map that accompanied the wildly popular printed volumes on the journey. But a crucial aspect was missing from the accounts of the expedition of Lewis and Clark. Without pictorial documentation, Europeans (and Americans) were unable to visualize the unbelievable journey. This lack meant that the people, landscape, and customs of the vast American frontier remained abstract ideas-and much less vividly imaginable-to anyone who had not personally experienced the voyage. When Catlin first issued his portfolio, as here, in 1844, his animated, colorful, sympathetic views of Native Americans finally filled the void of imagery. Suddenly, Europeans and Americans were able to visualize the people and customs of whom they had read so extensively, and to gain a level of respect for the Native Americans, so often feared, misunderstood or misrepresented. The artist's stunning lithographs ranged from portraits to depictions of tribal ceremonies, from the anecdotal to the idealized. Catlin appealed to his readers with the thrill of the hunt and the mystery of ritual, and conveyed his respect for his subjects masterfully. The immediacy of his images is irresistible, drawing viewers into the scenes and portraits with unprecedented intimacy. But even when Catlin issued the North American Indian Portfolio, just fifteen years after his expedition, his crusade to preserve America's "Noble Savage" was failing. The Indians were beginning to give way to the expansion of the American frontier and to Europea

Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.

MCKENNEY, Thomas Loraine (1785-1859) and James HALL (1793-1868). History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished with one hundred and twenty portraits from the Indian Gallery in the Department of War, at Washington. Frederick W. Greenough (vol.I) and Daniel Rice & James G. Clark (vols.II & III), Philadelphia, 1844.

Price: US$120000.00 + shipping

Description: (19 3/8 x 13 1/4 inches). 120 hand-coloured lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P.Rhindesbacher and R.M.Sully, drawn on stone by A.Newsam, A. Hoffy, Ralph Trembley, Henry Dacre and others, printed and coloured by J.T. Bowen and others, vol.III with 2 lithographed maps and one table, 17pp. of lithographic facsimile signatures of the original subscribers. Expertly bound to style in black half morocco over original cloth-covered boards, spines gilt in seven compartments with raised bands, lettered in the second and fourth compartments, the others with repeat decoration in gilt made up from various small tools First edition of "One of the most costly and 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, including some of the greatest American hand-coloured lithographs of the 19th century. A fine copy. After six years as superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, the Illinois journalist, lawyer, state treasurer and, from 1833, Cincinnati banker who had written extensively about the west. Both authors, not unlike George Catlin whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures amongst the Indian nations, followed by a general history of the North American Indians. The work is now famous for its colour plate portraits of the chiefs, warriors and squaws of the various tribes, faithful copies of original oils by Charles Bird King painted from life in his studio in Washington (McKenney commissioned him to record the visiting Indian delegates) or worked up by King from the watercolours of the young frontier artist, James Otto Lewis. All but four of the original paintings were destroyed in the disastrous Smithsonian fire of 1865 so their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to date, and its publishing history is extremely complex. The title pages give an indication of issue and are relatively simple: volume I, first issue was by Edward C. Biddle and is dated 1836 or more usually 1837, the second issue Frederick W. Greenough with the date 1838, and the third issue is by Daniel Rice & James G. Clark dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838 and the second issue by Rice & Clark and dated 1842. Volume III, first issue is by Daniel Rice & James G. Clark and dated 1844. BAL 6934; Bennett p.79; Field 992; Howes M129; Lipperhiede Mc4; Reese Stamped With A National Character 24; Sabin 43410a; Servies 2150.

Seller: Donald A. Heald Rare Books (ABAA), New York, NY, U.S.A.