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A MAGNIFICENT SET OF McKENNEY & HALL’S IMPORTANT
INDIAN PORTRAITS AND BIOGRAPHIES WITH SUPERB COLOR
Col. Thomas L. McKenney and James Hall. History of the Indian Tribes of North America with biographical sketches of the Principal Chiefs embellished with one hundred and twenty portraits from the Indian Gallery in the Department of War, at Washington. Three folio volumes: vol. I (Philadelphia: Edward C. Biddle, 23 Minor Street, 1836); vol. II (Philadelphia: Daniel Rice and James G. Clark, 132 Arch Street, 1842); and vol. III (Philadelphia: Daniel Rice and James G. Clark, 132 Arch Street, 1844). 120 lithographed plates with superb bright original hand color heightened with gum arabic: 117 portraits after King and 3 frontispieces after Rindisbacher and Bodmer; uncolored lithographed sheet with two maps and one chart: “Localities of all the Indian Tribes of North America in 1833,” “Present Localities of the Indian Tribes west of the Mississippi,” and “Statement showing the number of each tribe of Indians;” 17 pages of facsimile signatures of subscribers on 9 leaves. Includes original subscription wrappers and bindery instructions. All three volumes in original binding, with spine restoration: original boards, marbled end papers, and original spine leather overlay with seven compartments containing gilt title and decorations. Binding boards worn at corners. Vol. I front free endpaper, with minor cracking. Some foxing on text as usual, some staining at lower edges of text pages in vol. II. (See separate sheet for remarks on individual plates.) Very clean and bright condition, overall excellent.
$150,000. Click here for more information. | ||
A Selection of Octavo Bird Prints By John James Audubon From a second or later octavo edition of The Birds of America, c. 1856–1871 Lithographs with original hand color. Without doubt the best-known ornithological and zoological artist of all time, John James Laforest Audubon’s ambitious and eventually popular “Great Idea” of making and publishing his own drawings of all the birds of North America resulted in the most monumental and perhaps most “American” natural history works ever published. His desire to make his work more affordable and widely available resulted in his production of a miniature publication, the first edition of which was completed in five years (1839–1844) and comprised 1,200 sets. One-eighth the size of the original engravings, the octavo lithographs exhibit a remarkable degree of attention to quality and detail. Using the camera lucida, the images were reduced in size from the originals and then drawn onto lithographic stones. Some compositional changes were made to accommodate the smaller size. Unlike the double elephant originals, the lithographs were issued in correct phylogenic order. The prints bear the plate number in the upper right corner and the subscription number in the upper left. |
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A Handsome Pair of Nebel’s Famous
Mexican-American War Battle Scenes
Carl Nebel. Two hand-colored
lithographs from the portfolio The War Between the United
States and Mexico, Illustrated. Embracing Pictorial Drawings of All
the Principal Conflicts by Carl Nebel, . . . With a Description of
Each Battle, By Geo. Wilkins Kendall” (New York: D.
Appleton & Company, 1851). |
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“Capture of Monterey”
$3,000. Click here for more information. |
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“Bombardment of Vera Cruz”
$3,000. Click here for more information. |
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Mary Nimmo Moran. “'Tween the Gloaming and the Mirk, When
the Kye Come Hame,” 1883.
Roulette, mezzotint, and sandpaper in sepia ink on chine collé.
Published in Sylvester R. Koehler, Original Etchings by American
Artists (Cassell and Company, 1883). Image size: 7 1/2 x 11 1/2".
Sheet size: 15 x 19". Signed and dated in the plate at l. l.: M.
Nimmo Moran 1883. A few faint scattered spots at margin edge. Fine.
$975. Click here for more information. |
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Peter Moran. “On the Road to Santa Fe,” c. 1884. Etching.
Image size: 11 1/2 x 17 1/2". Frame size: 18
5/8 x 23 5/8". Signed in plate at l. r.: “PMoran.”
Published in Selected Etchings by American Artists (1884).
Excellent condition (by sight). Handsome archival presentation in
mahogany frame.
$2,800. Click here for more information. |
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An Important 19th-Century Painting of Historic San Miguel Mission Documenting the transformation of the New Mexican frontier by the arrival of the railroad Léon Trousset. “Church of San Miguel, Socorro, New Mexico,” 1885–86. Oil on canvas. 35 1/2 x 54" (original stretchers). Frame size: 43 1/2 x 61 1/4". Signed by artist in l. r.: L. Trousset. Inscribed below in pencil: 1886. Magnificent presentation in custom Spanish Colonial-style frame of silver leaf and black lacquer. SOLD. Click here for more information. |
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Henry Salt. “No. III:
Calcutta,” 1809. Hand-colored aquatint engraving on wove
paper by D. Havell after Henry Salt. Published in Twenty-four
Views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia
and Egypt (London: William Miller, 1 May 1809). Image size
(including text): 17 1/2 x 23 1/2". Sheet size: 21 1/4 x 28
3/4". Very faint scattered spotting. Overall
excellent.
$3,200. Click here for more information. |
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Henry Salt. “Plate No. IV:
The Pyramids at Cairo,” 1809. Hand-colored aquatint
engraving on wove paper by D. Havell after Henry Salt. Published in
Twenty-four Views in St. Helena, the Cape, India, Ceylon, the Red
Sea, Abyssinia and Egypt (London: William Miller, 1 May 1809).
Image size (including text): 19 3/4 x 27 3/4". Sheet size: 21
1/4 x 30 3/8". Minor surface soiling. Overall
excellent.
$3,200. Click here for more information. |
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McKenney & Hall. “Red
Jacket, A Seneca War Chief,” 1834 [Horan 116]. Folio
edition from the painting by Charles Bird King, with text page.
Lithograph with exquisite bright original hand color. Sheet size: 20
x 14 1/4". Right edge of sheet is unevenly trimmed and has minor
glue residue where formerly bound into portfolio, not affecting
image. Overall fine.
SOLD Click here for more information. |
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McKenney & Hall. “Ki-On-Twog-Ky,
or Cornplant,” 1834 [Horan 118]. Folio edition from the
painting by Charles Bird King, with text page. Lithograph with
exquisite bright original hand color. Sheet size: 20 x 14 1/4".
Right edge of sheet is unevenly trimmed and has minor glue residue
where formerly bound into portfolio, not affecting image. Overall
fine.
SOLD Click here for more information. |
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Four Fine Indian Portraits by
McKenney & Hall
From the first octavo edition of The History of the Indian Tribes of North America (Philadelphia: Printed and colored by J. T. Bowen, 1848–1850). The four Indian portraits listed below are from the first royal octavo edition of The History of the Indian Tribes of North America published by the firm of Daniel Rice and A. N. Hart in 1848–1850. They are all lithographs enhanced with exquisite bright original hand color and have the desirable evidence of gum arabic. Each sheet is approximately 10 1/4 x 6 5/8". The prints are in fine condition and are free of the foxing that often plagues the octavo edition. |
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“A Winnebago Orator”
[Horan 292]. SOLD. Click here for more information. |
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“Not-Chi-Mi-Ne, An Ioway
Chief” [Horan 312]. SOLD. Click here for more information. |
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“Po-Ca-Hon-Tas”
[Horan 324], with pages of text SOLD. Click here for more information. |
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“Mon-Chonsia, A Kansa Chief”
[Horan 340]. $500. Click here for more information. |
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John James Audubon.
“Plate 226: Hooping Crane. GRUS AMERICANA. Adult Male.” (London: R. Havell, 1834). First variant with “Hooping” in the title and the following imprint: “Engraved Printed & Coloured by R. Havell 1834.” Published in The Birds of North America. Double elephant folio sheet; hand-colored engraving with aquatint and etching on J. Whatman paper. Plate size: 36 3/4 x
24 3/4". Sheet: 39 x 26 1/4" (the full size used by Havell). Frame size: 49 1/4 x 36". Very minor crimps at old stab holes on left binding edge. Outstanding color and condition. Handsome archival presentation. SOLD. Click here for more information. |
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Giovanni Battista Piranesi (1720–1778).
“Veduta di Piazza di Spagna,” 1750–1778.
Etching
on laid paper. Fifth state (?). Plate size: 16 x 23 1/2". Sheet
size: 21 x 30". Signed in plate l.r. margin: Piranesi Archiletto
fec. Minor spotting and toning in margins; old tape residue. Overall
excellent condition. $4,000. Click here for more information. |
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Giovanni Battista Piranesi (1720–1778).
“Veduta dell’insigne Basilica Vaticana coll’
ampio Portico, e Piazza adjacente [St. Peter’s with Forecourt
and Colonnades, a Bird’s-Eye View].” Etching
on laid paper. First Paris edition, 1800–1807. Plate size: 18
3/4 x 28". Sheet size: 21 3/4 x 32". Signed in plate l.r.
margin: Cavaliere Piranesi delin. ed. inc. Old toning and soiling
along sheet edges; old damp stain in l.r. corner. Overall excellent
condition. $4,200. Click here for more information. |
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Giovanni Battista Piranesi (1720–1778).
“Veduta in prospettiva della gran Fontana dell’
Acqua Vergine detta di Trevi Architecttura [Fontana di Trevi. Front
View].”
Etching on laid paper. First Paris edition, 1800–1807. Plate
size: 18 3/4 x 26". Sheet size: 21 3/4 x 32". Signed in
plate l. l. margin: Cavalier Piranesi F. Minor chipping and toning
in margins; professionally stabilized corner tear at u. r. Overall
excellent condition. $4,000. Click here for more information. |
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Karl Bodmer
Aquatints From Travels Into the Interior of North America 1839–1843 From 1832 to 1834 Swiss artist Karl Bodmer accompanied the Prussian naturalist Maximilian, Prince of Wied-Neuwied, to America as illustrator on an expedition to the Upper Missouri River country. The trip was a scientific endeavor to record the landscape, natural history, and aboriginal life of the American wilderness frontier. Maximilian engaged Bodmer to provide a visual record of his investigations, principally focused upon the Plains Indians. Ironically, the artistic product of the two-year adventure far outlasted its anthropological purpose. Going beyond the precedent set by Thomas McKenney and George Catlin, Bodmer painted the people and places of frontier America with sensitivity to individual character and an accuracy of ethnographic detail that is considered unsurpassed. |
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Karl Bodmer. “Tab.
5. Mouth of the Fox River (Indiana) [Embouchure du Fox River]”
(London, Coblenz, and Paris: Ackermann & Co., 1839–1843).
Aquatint and line engraving on Japan wove paper, black and white as
issued. Bodmer blind stamp in lower margin. 28 1/2 x 31 1/2"
framed. Very light foxing in lower margin. Overall, excellent condition
(by sight). Handsome presentation in two-toned frame. $5,500. Click here for more information. |
| A Superb Offering of McKenney &
Hall Material
Thomas Lorraine McKenney was Superintendent of Indian Affairs under
presidents Madison, Monroe, John Quincy Adams, and Jackson. As a
result of his keen interest in the customs and beliefs of the Indian
tribes under his jurisdiction, he commissioned Charles Bird King
and several other artists to paint the portraits of Indians whom
he had met or had heard about. With the help of James Hall, a frontier
lawyer, judge, newspaper editor, and author, McKenney assembled
the portraits into a coherent representation of Indian life, lore,
and costume. Published as a three-volume portfolio between 1836
and 1842, the hand-colored lithographs after the paintings are among
the only portraits remaining of this early generation of Indian
warriors, statesmen, medicine men, and commoners. The original paintings,
which were on display in the Smithsonian Institution, were destroyed
by fine in 1865.From The History of the Indian Tribes of North America |
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McKenney & Hall.
“Itcho-Tustinnuggee, A Seminole Warrior,” 1843
[Horan 251]. Folio edition. Lithograph with exquisite bright original
hand color. Image: 16 x 12". Frame size: 26 x 22". Very
light transference of text from preceding page. Overall, excellent.
Framed to archival standards in handsome gold-leaf molding. $2,750. Click here for more information. |
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McKenney & Hall.
“Foke-Luste-Hajo, A Seminole,” 1842 [Horan 259].
Folio edition. Lithograph with exquisite bright original hand color.
Sheet size: 19 3/4 x 14". Very light transference of text
from preceding page. Overall, excellent. $2,000. Click here for more information. |
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McKenney & Hall.
“Apauly Tustenuggee,”1843 [see Horan 124 and
205]. Folio lithograph with exquisite bright original hand color.
Framed size: 24 1/2 x 19". Excellent condition. Handsome
archival presentation in bird's-eye maple, with a French mat. $2,750. Click here for more information. |
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Thomas L. McKenney
& James Hall. History of the Indian Tribes of North America,
With Biographical Sketches and Anecdotes of the Principal Chiefs.
Embellished With One Hundred and Twenty Portraits (Philadelphia:
D. Rice & A. N. Hart, 1855, 1858). 8vo. Three volumes with 120
hand-colored lithographs, printed and colored by J. T. Bowen. Volume
I is the fourth ed. dated 1858; volumes. II and III are the third
ed. dated 1855. Bound in contemporary full brown morocco, gilt titles,
blind-stamped decoration and raised bands to spine, blind-stamped
rules and decoration to boards, all edges gilt. Some extremely minor
professional restoration to each volume. Otherwise, practically pristine
with all tissue guards intact. Overall, a superb, clean example with
bright, beautiful color and desirable evidence of gum arabic. Certainly
one of the best examples in existence today. SOLD Click here for more information. |
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A Fine Selection of 8vo McKenney &
Hall Portraits, from the Estate of James Horan The prints in our selection come from the 1872 octavo edition of the McKenney-Hall History of the Indian Tribes of North America, first published in the folio edition between 1838 and 1844. Thomas Lorraine McKenney, the superintendent of Indian Affairs, and James Hall, the famous Cincinnati author, joined forces to create the Indian gallery in the 1830's. Hall supplied the text, while the Indian Bureau commissioned the artist Charles Bird King to paint portraits of the leading Indian chiefs, either from life or by repainting the earlier attempts of James Otto Lewis and other artists from the colonial era. The result was a spectacular series of images, certainly the best series of such portraits to be produced in America. James Horan was a popular historian and novelist whose The McKenney-Hall Portrait Gallery of American Indians (1972) remains the standard reference for scholars and collectors of the famous nineteenth-century color plate book. To illustrate his book, Horan reproduced the McKenney-Hall prints from his personal octavo edition, apparently because of the exquisite color and condition of that particular set. We are pleased to offer this unique opportunity to acquire the actual prints used to create the standard reference for these important early portraits of Native Americans, all in superb condition. Each may be framed to archival standards in a handsome Indian-carve antique black, red-rub molding for an additional $450. Photographs of framed examples available upon request. |
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Daniel Powers Whiting.
Army Portfolio. By Capt. D.P. Whiting, 7th Inf'y, U.S.A. No. 1
(New York: G. & W. Endicott, 1847). Five tinted lithographed plates
after Whiting, by Chas. Fendrich, F. Swinton (2) and C. Parson (2).
Image size: 13 x 18 11/16" to neat line, plus margins. Framed
size: 23 1/2 x 28". Some extremely minor spotting on print
no. 4. Each print presented in an attractive period-style frame. Overall,
excellent condition (by sight) for this rare set of Mexican War prints.
SOLD Click here for more information. |
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John Woodhouse Audubon.
“Putorius Agilis, Aud & Bach. / Little Nimble Weasel.”
Lithograph printed and hand-colored by J. T. Bowen, Philadelphia,
1848. Plate 140 from The Viviparous Quadrupeds of North America.
Imperial folio sheet size: 21 1/4 x 27" with full margins.
Very minor chipping to edges. Overall fine with bright color. $2,500. Click here for more information. |
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Alfred Jacob Miller.
Five chromolithographs of Indian life published in C. W.
Webber, The Hunter-Naturalist: Wild Scenes and Song-Birds
(New York: Riker, Thorne and Company, 1855). Third edition. Image:
4 7/8 x 7 1/2"; full sheet: 6 1/2 x 9 3/4".
Imprint l. l.: “Miller pinx.”; l. r.: “L N Rosenthal’s
Cromo Lith Phila.” Signed on the stone, l. l.: “M
Rosenthal.” Minor surface spotting and soiling. Fine examples
of these rare prints, with exquisite bright color. $1,500 each. Click here for more information. Three have been sold. |
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Peter Moran. “Harvest
At San Juan,” 1883. Line etching on thin laid japan
paper. Image: 6 x 12 3/8" at plate mark with full margins.
Sheet size: 10 x 15 5/8". Signed in pencil in l. r. margin:
PMoran. Artist’s monogram "PM" in plate, l. r. corner.
Published in Original Etchings by American Artists (Cassell
and Company, 1883). Superb condition, uncommon on thin japan paper.
$5,000. Click here for more information. |
