History Indian Tribes North America by Thomas Mckenney James Hall (143 results)

Soft cover. Condition: Very Good. Very good, clean, tight condition - light wear. Reprint of the 1838 edition. Text free of marks. Professional book dealer since 1999. All orders are processed promptly and carefully packaged with tracking.

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Hardcover. Condition: Good. King, Charles Bird (illustrator). Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority!

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Condition: Wie neu. Volume 1: VIII, 450 pages Volume 2: II, 542 pages With 115 coloured plates neu / Modernes Schriftbild / Embellished with one hundred Portraits from the Indian Gallery in the War Department at Washington Sprache: Englisch Gewicht in Gramm: 3650 25,7 x 17,8 cm, gebundene Ausgabe Faksimile-Reprint der Ausgabe von 1872 Philadelphia, D. Rice & Co.

Hardcover. Condition: New. Dust Jacket Condition: New. Two volumes in brown calf leather with gilt lettering and gilt edges. Promotional material and bookplate numbered 3158/5000 laid in. Color plates, maps and bibliography. Vol. I has 470 pages and Vol. II has 524 pages. May require extra postage. Unread copies. NEW in original brown slipcase.

Full-Leather. Condition: Near Fine. 1st Edition. Near fine - 2 volume leather bound set. Slipcase has light wear. Text free of marks. Professional book dealer since 1999. All orders are processed promptly and carefully packaged.

Condition: Very good. McKenney , Thomas L. and James Hall (illustrator). 3 vols., folio. 120 hand-colored lithographed plates after Charles Bird King, Karl Bodmer, J. O. Lewis, P. Rhindesbacher and R. M. Sully, drawn on stone by A. Newsam, A Hoffy, Ralph Trembley, Henry Dacre and others, printed and colored by J. T. Bowen and others, 17 pp of lithographic facsimiles of signatures of subscribers, 2 lithographed maps and one table printed on the recto of one leaf, wrappers of original parts bound in; occasional foxing and offsetting, generally not affecting plates. Half calf, cloth sides; covers detached, worn.First edition of one of the centuryâs key color plate books, with first issue of volume 1(with the Biddle imprint and date 1836 on title). Most of these superb lithographs are based on oils by Charles Bird King, who was employed by the War Department to paint the Indian delegations visiting Washington D. C. Most of Kingâs original portraits were subsequently destroyed in a fire at the Smithsonian in 1865, so their appearance in McKenney and Hallâs Indian Tribes is the only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century: Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola were numbered among Kingâs sitters.Thomas McKenney was the first director of the Bureau of Indian Affairs, and he provided biographies, many based on personal interviews, that accompany the portraits. After six years as Superintendent of Indian Trade, 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 Bureau 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. When President Jackson dismissed his 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 own publishing enterprise, saw their work as means 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 among the Indian nations, followed by a general history of the North American Indians.âWith 120 folio plates in three volumes, this was the greatest color plate book issued in the United States up to the time of its publication, and one of the most important of the century. Its long and checkered publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most distinctive and important books in Americanai â¦.The complicated circumstances of its production have left a bibliographical stew of issues and issue points that are yet to be satisfactorily resolvedâ (Reese, Stamped with a National Character: Nineteenth Century American Color Plate Books, 24).Although History of the Indian Tribes of North America was eventually hugely successful and often reprinted in both folio and octavo formats, the first edition appeared haltingly, as is shown by the changing imprints on the title-pages. Four publishers, three lithographic firms, and more than a decade were required to bring this first edition to completion.References: BAL 6934; Field 992; Howes 129; Sabin 43410a.

Handkolorierte lithographische O-Tafel mit der Ansicht des Winnebago Häuptlings nach der Natur gezeichnet. Tafelgröße: 17 x 26,2 cm. Handcolored Lithograph with the view of a Winnebago Chief drawn after nature. - - - McKenney worked as the superintendent of the war department for 16 years. He became a friend an admirer of the Native Americans. When Charles Bird King created paintings for the U.S. Government to make a survey of the appearances of the natives, McKenney intended to produce a portfolio of them along with written accounts. Thankfully, he employed the well-known artist Henry Inman to secretly make copies of them before they were destroyed in the fire at the Smithsonian in 1865.

Handkolorierte lithographische O-Tafel mit der Ansicht des Iowa-Kriegers Tahrohon nach der Natur gezeichnet. Tafelgröße: 16,7 x 26 cm. Handcolored Lithograph with the view of an Ioway Warrior Tah-Ro-Hon drawn after nature. Size of the leaf: 6.57 x 10.24 inch. - - - Die Iowa oder Ioway sind ein Indianervolk Nordamerikas, das zeitweise im US-Bundesstaat Iowa ansässig war und dem Stamm seinen Namen gab. Der Name Iowa geht auf "ayuhwa = schlafend" zurück. Die Selbstbezeichnung der Iowa war "Pahotcha" oder "Bah-kho-je", was so viel wie "Staubgesichter" oder "Grauer Schnee" bedeutet. Die Iowa sprachen eine Sioux-Sprache namens Baxoje. McKenney worked as the superintendent of the war department for 16 years. He became a friend an admirer of the Native Americans. When Charles Bird King created paintings for the U.S. Government to make a survey of the appearances of the natives, McKenney intended to produce a portfolio of them along with written accounts. Thankfully, he employed the well-known artist Henry Inman to secretly make copies of them before they were destroyed in the fire at the Smithsonian in 1865.

Condition: Very good. McKenney & Hall (illustrator). 3 vols., large 8vo. 120 hand-colored lithographs by J. T. Bowen, most after Charles Bird King. Publisherâs red morocco, spine and covers elaboratly gilt-decorated, a.e.g.Third edition, second octavo edition, with very clean and fresh plates. The first octavo edition appeared in 1848-50, following the folio edition of 1836-44. The illustrations are reduced from the folio edition, which Howes describes as âthe most colorful portraits of Indians ever executed.â They are based on Charles Bird Kingâs portraits in the Indian Gallery, Department of War, Washington, which were nearly all destroyed in the 1865 Smithsonian fire. The octavo edition contains an additional plate of âRed Birdâ, used as the frontispiece to volume II, as well as additions to the biographies.References: Howes M-129; Sabin 43411 (described as a later issue of the 1850 edition).

Hardcover. Condition: Fine. First Edition, First Printing. Octavo. 6.5 x 10.25 in. xxviii, 470 pp; vii, 534, [5] pp. Occasionally illustrated with bright color reproductions of drawings by McKenney. Fine in original gold-tooled decorated leather, all edges gilt, moire taffeta endpapers, and five raised bands to spine. A beautiful set. Fits in a near fine cloth slipcase with some light wear. Heavy volume, additional postage may apply if beyond media rate.

Hardcover. Condition: Fine. 1st Edition. A full leather set in slipcase. Brown leather with gold stamping, ribbed spine and all edges gilt with moire silk endpapers and satin book marks. #44 of 5000 customized plate pasted in. A fine copy with some light wear to the cloth slipcase. Fabulous colors plates throughout (120 total). See my photos of the book you will receive, not stock photos. More available upon request. This book is in my possession and will be packed in bubble wrap and shipped in a cardboard box. USPS tracking provided. #MC.

leather. Condition: Nearly fine set in slipcase. Well-illustrated (illustrator). 1st thus. Tall 8vo, 470, 534 pp., Spines just barely faded, else fine; full leather with silk page markers., Full title reads as follows: "History of the Indian Tribes of North America With Biographical Sketches and Anecdotes of the Principal Chiefs. Embellished With One Hundred and Twenty Potraits From the Indian Gallery in the Department of War, at Washington".

First edition thus. Quarto. xxviii,470pp. 534,[5]pp. Finely gold-tooled leather in original brown cloth slipcase. All gilt edges. Raised bands. Ribbon marker. Silk-moire endpapers. Color frontispiece in Vol. I. Stunningly illustrated work by T. L. McKenney on American Indian Chiefs. Thomas Lorraine McKenney (1785 - 1859) was a United States official who served as Superintendent of Indian Trade and later as Head of the Bureau of Indian Affairs. In the mid 1820's he went West to observe Indian tribes attempting to collect artifacts & portraits of notable native Americans. After this endeavor proved somewhat disappointing he commissioned Charles Bird King (1785 - 1862) to paint portraits of visiting Indian delegates in his Washington studio. The portraits were published in lithograph form in folio format in 1836 - 1844, accompanied with essays & biographies by James Hall (1793 - 1868). Hall was a popular author of Western topics. The spectacular lithographic plates are reproduced in this publication in smaller format. The majority of paintings were done by King, some by Peter Rindisbacher (1806 - 1834), as well as some other artists. "For this edition by Volair, which makes use of modern reproduction technology, the beast features of the folio and octavo editions are combined. The portraits come from an original folio edition published by Frederich W. Greenough (1838-44). A remarkable feature of these portraits is that they include six by the renowned English lithographer, Charles Hullmandel. Normally found only in the uncompleted European edition by Campbell, these extremely rare lithographs are as follows: War Dance of the Sauks and Foxes (Vol. I, frontispiece), Red Jacket (Vol. I, pg. 7), Mohongo (Vol. I, pg. 27), Shingaba W'Ossin (Vol. I, pg. 151), Pushmataha (Vol. I, pg. 183), and Kish-Kallo-Wa (Vol. I, pg. 449).The text of the Volair edition comes from the first octavo edition published by the lithographer J. T. Bowen (1848-50). For some reason, Bowen rearranged the sequence of the portraits and biographical sketches. The Volair edition necessarily follows the revised arrangement; the only difference is that it is bound into two volumes instead of three." Minor fraying on slipcase which remains very sound. Books in fine condition (as new). Elaborate publication in a stunning binding.

Hardcover. Condition: Very Good+. Dust Jacket Condition: Very Good dj. New edition. [just a bit of shelfwear and light bumping to bottom edges/corners, one-time owner's rubber-stamped signature on front pastedowns (both volumes); jackets are uniformly age-toned (somewhat more at spines), with general soiling and some wrinkling along the top edges, but with no tears or chips]. (2 photogravure ports.; 72 color plates; 2 maps) Regrettably incomplete set (Volumes I and III only; Volume II is not present) of this classic work, originally published in three folio volumes issued in 1836, 1838 and 1844. The introduction to this "New Edition," by editor Hodge, presents an account of the creation of the original work (including much biographical information about the authors) and an extensive bibliographical discussion of numerous editions that followed, in particular the history of the work's most notable feature: the color portraits of many Native Americans, primarily tribal chiefs. Because the portraits, which hung originally at the War Department and later at the Smithsonian Institution, had been painted from life (and predated the widespread use of photography), in many instances they represent the only existing images of their subjects; and because most of the originals were destroyed in the 1865 Smithsonian fire, only the published reproductions remain. This edition contained 123 color plates in all, of which 72 are present in the two volumes on offer, as are the two color maps, at the end of Volume III. ****NOTE that additional postage charges will be assessed for international shipping of these heavy volumes; if this concerns you, please contact us for a shipping quote before placing your order. As always at ReadInk, domestic Media Mail shipping is free,**** NOISBN.

First Volair Limited edition of "one of the most important works ever published on the American Indians" (Field) including some of the greatest American hand-coloured lithographs of the 19th century. Octavo, original publisher's full leather with gilt titles and tooling to the spine in six compartments within raised bands, gilt ruling to the front and rear panels, silk moire endleaves, all edges gilt, ribbon bound in, illustrated with 120 color portraits after Karl Bodmer, Charles Bird King, James Otto Lewis and R.M. Sully colored by J.T. Bowen and others, maps at rear of Vol. II. In fine condition. Housed in the original publisher's slipcase. "Thomas Loraine McKenney (1785-1859) served as Commissioner of Indian Affairs from 1824 to 1830. In that capacity he commissioned and collected portraits of Native Americans for his Gallery in the War Department. McKenney's goal was to publish a record of vanishing peoples: portraits, biographical sketches and a history of North American Indians. He accomplished this in the first issue of the History of the Indian Tribes of North America, published in three volumes between 1838 and 1844. James Hall (1793-1868) provided the text" (University of Cincinnati Libraries).

Condition: Good. 3 volumes, 8vo , 16.4 x 25.9cm. Very good. Hand-colored lithographic dedication and 120 hand-colored lithographic plates , some heightened with gum arabic; Contemporary publisher's red gilt morocco, ruled in blind, all edges gilt. FIRST OCTAVO EDITION, after the folio edition of 1837-1844. ."Both authors 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 color 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 watercolors 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. -- ReeseThomas McKenney assembled portraits of Native Americans by taking visiting Native American dignitaries to the studio of Charles Bird King in Washington, who would paint their portraits in oil. These formed part of a portrait gallery at the Smithsonian, which were all destroyed in the 1865 Smithsonian fire. McKenney endeavored to recreate the portraits in lithographs, resulting in the work's "long and checkered publication history [which] spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers. " (Reese, Stamped With A National Character 24). Howes M-129; Field 992; Sabin 43411 (1850 edition).OCLC Number / Unique Identifier:878688064.Signatures: Volume 1: pi? [1]-42? chi . Volume 2: pi? [1]-36? 37 chi . Volume 3: pi? 3-49? chi First edition published 1836-1844"An essay on the history of North American Indians. By James Hall": volume 3, pages 149-387Spine title: Indian Tribes of North America.Provenance: The Brooklyn Library Association of the Eastern District, with stamp on title pages.Prior to the establishment of the Brooklyn Public Library by an Act of Legislature of the State of New York in 1892, Brooklyn was served by a number of independently operated libraries that were open to the public, but which in many cases required a membership fee to use. In 1857, the Mercantile Library Association of the City of Brooklyn was established, and the Mercantile Library of Brooklyn subsequently opened in a building shared by the Brooklyn Athanaeum and Reading Room. In 1865, the Brooklyn Library Association of the Eastern District was established for the purpose of establishing a library in Brooklyn's Eastern District, and in 1868, the Law Library in Brooklyn was established.

3 volumes, 8vo. (10 1/4 x 6 3/4 inches). 120 hand-colored lithographic plates by J.T. Bowen, most after Charles Bird King. Publisher's brown blind-stamped morocco, spine in six compartments with five raised bands, lettered in gilt in two, the others with repeat decoration in blind. Neat repairs to joints The third octavo edition of McKenney and Hall's classic work, after the first octavo edition of 1848-50, reduced from the folio edition produced in 1836-44. The plates for the first four octavo editions were all produced by the same lithographer, J.T. Bowen, and the same high quality of printing and colouring of the plates is found throughout. McKenney and Hall's Indian Tribes of North America has long been renowned for its faithful portraits of Native Americans. The portrait plates are based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. 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 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer 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. (Gilreath). McKenney provided the biographies, many based on personal interviews, and Hall wrote the general history of the North American Indian. Howes M129; McGrath p.206; cf. Miles & Reese America Pictured to the Life 53 (first octavo edition); Sabin: 43411 (1854-56 edition with 221 plates); Servies 4028.

Hardcover. Condition: Very Good. 1st Edition. 3 volumes, folio (19 ¾ x 14 in.; 50.2 x 35.6 cm). 120 handcolored lithographed plates heightened with gum arabic, including 117 portraits after C.B. King and 3 scenic frontispieces after Rindisbacher, leaf of lithographed maps and table, 17 pages of facsimile signatures of subscribers, leaf of testimonials regarding the genuineness of the portrait of Pocahontas, state C of vol. 1 title-page, state D of the War Dance frontispiece and state F of Red Jacket, vol. 2 title-page in state B, vol. 3 title-page in state A; vol. 3 frontispiece plate trimmed and repaired, faint text offsetting to 4 plates in same, WITHAL AN IMMACULATE, BRIGHT COPY WITH VIVID COLORING. Half green morocco over pebbled green cloth, gilt titles in decorative border on upper covers, the spine in 7 compartments gilt (2 lettered), yellow-coated endpapers; rebacked and recornered to style; covers rubbed, a few water spots on front cover of vol. 2, dampstaining to flyleaves in all three volumes. FIRST EDITION, "OF THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION AND ONE OF THE MOST IMPORTANT OF THE CENTURY" (Reese), with Volumes I and 2 in the second issue, and Volume 3 in the first issue. Its long publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most important and distinctive books in Americana. Soon after his appointment as Superintendent of Indian Trade in 1816, Thomas L. McKenney struck upon the idea of creating an archive to preserve the artifacts and history of Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney throughout his tenure as Superintendent and then in 1824 as first head of the Bureau of Indian Affairs. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the Archives. For the next twenty years, King would capture the likenesses of the many visiting Indian dignitaries who had come to Washington to meet the "Great Father" (i.e., the president), as well as rework the less skillful portraits of James Otto Lewis. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work wasn't a financial success. Its exorbitant price prohibited all but the wealthy and public libraries from subscribing. REFERENCES: BAL 6934; Bennett 79; Field 992; Howes M129; Lipperheide Mc4; Reese, Stamped with a National Character 24; Sabin 43410a; Viola, The Indian Legacy of Charles Bird King (L64F11bisE).

Folio; 3 vols. (20 1/16 x 14 1/4 inches). 120 hand-colored lithograph plates, map, and 17-page subscriber list present. State "A" of volumes one and three, state "B" (issued with part 16) of volume two. 19th-century half-Morocco to style over marbled boards, spines gilt. Within individual chemises and slipcases. First edition of this Americana highspot, a profusely illustrated record of prominent nineteenth-century Native Americans, which was "the grandest color-plate book issued in the United States up to the time of its publication." (Reese) Thomas McKenney, a Quaker, was Superintendent of Indian Affairs from 1816-1822. While in this post he became concerned for the survival of Western tribes after observing unscrupulous people taking advantage of Native Americans for profit. McKenney decided to create an archive to preserve the artifacts and history of Native Americans whose culture was disappearing due to settler-colonialism. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to his archive. McKenney helped start the first national collection in Washington, the Archives of the American Indian, and served as curator of this archive while he was Superintendent of Indian Affairs and head of the Bureau of Indian Affairs. Perhaps surprisingly, in his government role, McKenney advocated for Indians to be removed to somewhere west of the Mississippi and the portraits he commissioned make reference to the benefits of missionary and "civilizing" work. He was instrumental in the passage of the 1830 Indian Removal Act, but also criticized some government policies toward Indians, which led President Jackson to dismiss McKenney from his post in 1830. After leaving government, McKenney was able to turn more of his attention to his publishing project recording biographies and portraits of Native Americans. Within a few years, he was joined by James Hall, a journalist, lawyer, and the Illinois state treasurer, who had written extensively about the West. Both authors 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 among the Indian nations, followed by a general history of the North American Indians. The work is famous for its color-plate portraits of chiefs, warriors, and women of various tribes, which are faithful copies of original oils by Charles Bird King. King painted the illustrious Indians from life in his studio in Washington, D.C., where McKenney commissioned him to record visiting Indian delegations from 1821 to 1837. At times King's paintings were worked up from the watercolors of the young frontier artist, James Otto Lewis. All but four of the book's original paintings were destroyed in the disastrous Smithsonian fire of 1865; 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. 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 that date, and its publishing history is complex. Its production spanned eight years, multiple lithographers, and was funded by 1,250 subscribers. The title pages give an indication of issue: Volume I, first issue was by Edward C. Biddle and is dated 1836; the second issue was by Frederick W. Greenough with the date 1838; and the third issue is by Daniel Rice and James G. Clark and dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838; and the second issue is by Rice and Clark and dated 1842. Volume III, first issue is by Daniel Rice and James G. Clark and dated 1844. American Color Plate Books, 24; BAL 6934; Bennett, 79; Best of the West, 68; Bowers, 339-40; Field 992; Howes M-129 ("d"); Lipperhiede Mc4; Sabin 43410a; Servies 2150; Stack, 5.

Hardcover. Condition: Used - fine. Limited. 3 volume set. (From the original edition of 1870). Limited Edition, copy 125/400. âFeaturing 121 vintage images including the famous portraits by Charles Bird King.â Full maroon leather with spine and covers in gilt, AEG (Vol. 3 has 1/2 ' round light scuff to front panel, light scuffing to bottom edge gilt and corresponding bump to bottom edge of front cover). Overall the set presents as Fine.

Third octavo edition; considered by some to be the best of the octavo editions for the superiority of its hand coloring; three volumes; publisher's red pebble-grained morocco; all edges gilt; thick, beveled boards; raised bands; elaborate gilt decoration on the boards and the spine; in superb condition. Most of the illustrations are by artist Charles Bird King, many of whose original oil paintings were destroyed in a 1865 fire at the Smithsonian. All books described as first editions are first printings unless otherwise noted.

3 volumes, folio. (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.

Edition : First Octavo Edition. , Contemporary marbled boards rebacked in style, decoratively ruled in gilt, spines with five raised bands and red morocco labels; Marbled endpapers, all edges trimmed. , In his Practical Guide to American Nineteenth Century Color Plate Books, Bennett notes, "M'Kenney's [sic] plates are generally conceded to be the outstanding Indian Gallery. Hall, a noted writer on Western subjects, supplied sound text." Field concludes in his Essay Towards an Indian Bibliography, "[this] work is one of the most costly and important ever published on the American Indians. The plates are accurate portraits of celebrated chiefs, or of characteristic individuals of the race; and are colored with care, to faithfully represent their features and costumes.", Size : Octavo (270 x 171 mm). , Complete with 120 plates and tissue guards. , Volume : Three volumes., References : Howes M-129, Sabin 43411; and see Bennett page 79, and Field 992., Volume I: iv, 333, [1, blank] pages and 40 plates, also with coloured dedication plate to Washington (not included in plate count); volume II: [xviii], 9-290 pages and 48 plates; volume III: iv, 17-392 pages and 32 plates. Internally generally clean; some toning and mild foxing to plate "Me-Te-A" (opposite page 59), plate "Wa-Pel-La" (opposite page 65), and plate "Tustennuggee Emathla" (opposite page 71). Plates generally clean and bright, the bright colours in these iconic plates are well preserved. A very good to near fine set.

Condition: Fine in very good jackets. Important edition of the monumental visual record of Native American leaders, including an extensive account of the original 1836-44 folio edition, biography of the original authors, and the infamous Smithsonian fire all new to this edition. Thomas L. McKenney, a Quaker, served as the US Government's Superintendent of Indian Affairs from 1824 to 1830. During this period he worked with the renowned American artist Charles Bird King, commissioning the artist to paint portraits of Native leaders who were visiting the government in DC. The fame of the paintings soon spread, and McKenney conceived of a massive printing project to record them in book form. At the same time, incoming president Andrew Jackson fired McKenney, after McKenney fundamentally rejected Jackson's stance on the US's relationship with Indigenous nations. Suddenly jobless, McKenney threw himself into the project, mounting one of the most ambitious book projects ever seen in the United States up to that time: three elephant folio volumes containing 120 hand-colored plates. Already a significant record of leaders and their nations, the books took on supreme importance as a cultural document after a fire at the Smithsonian engulfed the majority of Charles Bird King's original paintings. This edition made the production accessible in the 20th century beyond the increasing rarity of the 19th-century folio and octavo editions. Its introduction by Hodge captures the growing legend of the story behind the production, detailing the delays and obstacles that threatened more than once to end the project. A noteworthy edition, mythologizing and making accessible the story of a critical record of Indigenous nations in the pre-Jacksonian era. 3 thick octavo volumes, 9.25'' x 6.75'' each. Original blue pictorial cloth stamped in blind, gilt-lettered spines. In original typographic dust jackets (no price on flaps). Top edges gilt, other edges uncut, some leaves unopened. Illustrated with two photogravure portraits (of McKenney and Hall), 123 full-page color plates after King's paintings with captions tissue guards, and 2 color folding maps. Volume I with historical introduction by Frederick Webb Hodge. lxiv, 442, [2]; viii, 458, [2]; xvi, 355 pages. Jackets with a bit of creasing, some soiling. Cloth and interior fresh and bright.