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McKenney & HallQua-Ta-Wa-Pea or Col. Lewis. A Shawnee Chief.1836
1836
About the Item
MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Qua-Ta-Wa-Pea or Col. Lewis. A Shawnnee Chief.
Philadelphia: E.C. Biddle, 1836. Hand-coloured lithograph. Image size (including text): 14 3/8 x 10 inches. Sheet size: 20 x 14 1/8 inches. Framed size: 24 x 20 3/8
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
A courageous Shawnee chief, Qua-Ta-Wa-Pea, also known as Colonel Lewis, was rumored to have been elected leader because the Shawnee interpreted President Jefferson's act of honoring him with a medal during a post-Revolution visit to Washington as a sign that that was the will of the United States. As was frequently the custom among Indians, Qua-Ta-Wa-Pea adopted the name of a respected white friend, that of Officer John Lewis. The Shawnee, an Algonquin speaking tribe, inhabited the Southeastern region of the United States.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird 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, Keokuk, and Black Hawk. 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. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a.
- Creator:
- Creation Year:1836
- Dimensions:Height: 24 in (60.96 cm)Width: 20.38 in (51.77 cm)
- Medium:
- Period:
- Condition:Good overall condition with some foxing.
- Gallery Location:Missouri, MO
- Reference Number:1stDibs: LU74732426093
McKenney & Hall
Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis, who sketched those willing to participate. A large number of the most influential Indian chiefs and warriors were later invited to come to Washington in 1821 to meet President Monroe. McKenney commissioned the prominent portrait painter Charles Bird King, who had a studio in the capital, to paint these native American leaders, who chose the costumes they wished to wear for the sitting. The magnificent resultant paintings were displayed in the War Department until 1858, and were then moved to the Smithsonian Institute. When Andrew Jackson dismissed McKenney in 1830, he gave him permission to have the King portraits as well as some by other artists, including George Catlin and James Otto Lewis, copied and made into lithographs, in both folio and octavo sizes. McKenney partnered with James C. Hall, a Cincinnati judge and novelist to publish the lithographs and the text written by Hall. The work was extremely expensive to create and nearly bankrupted McKenney, as well as the two printing firms who invested in its publication. The resultant work gained importance when Catlin's paintings were destroyed in a warehouse fire and Charles Bird King's and James Otto Lewis’ portraits were destroyed in the great Smithsonian Museum fire of 1865. The McKenney and Hall portraits remain the most complete and colorful record of these pre-Civil War Native American leaders.
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