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19th C. American & European Lithos & Engravings Feat. Native Americans Subjects
About the Item
Collection of 19th Century American and European Lithographs & Engravings Featuring Native American Subjects
A compelling group of four framed 19th-century prints, including two finely hand-colored lithographs by J.T. Bowen of Philadelphia, and two detailed engravings exploring Indigenous life and historic conflict. Each is handsomely presented in custom period-appropriate frames.
Details:
1. "KI-ON-TWOG-KY, A Seneca Chief"
2. "NE-SOU-A-QUOIT, A Fox Chief"
Lithographed, colored, and published by J.T. Bowen, Philadelphia Published: Between 1836 and 1848
Each approx. 9.75" H x 6.25" W (sight)
Framed: 15.25" H x 11.5" W
Vivid hand-coloring and striking portraits typical of Bowen’s lithographic work, originally published in McKenney and Hall’s History of the Indian Tribes of North America. Includes biographical backing sheet for Ki-On-Twog-Ky.
3. "Combat des Natchez et des Français" (The Natchez)
Engraving by Bodin, after a painting by Paul Philippoteaux
Given that the engraving is signed “Philippoteaux del.” (drawn by) and “Bodin sc.” (engraved by), and considering the print style and paper, this is likely from the late 19th century, circa 1875–1890.
Approx. 7.25" H x 5.5" W (sight)
Framed: 15.25" H x 13.5" W
A dramatic, action-filled composition capturing the violent clash between Natchez warriors and French soldiers. Richly rendered in dense engraving detail.
4. "American Indian"
Early 19th-century European engraving.
The style and engraving technique suggest circa 1800–1830.
Approx. 8" H x 6.5" W (sight)
Framed: 15.25" H x 13.5" W
A stylized interpretation of a Native American figure holding a tomahawk, standing before a mountainous backdrop—representative of European fascination with the "noble savage" motif.
Condition:
All works are in good antique condition with light age toning, occasional foxing or faint spotting as expected. Frames are sturdy and complementary, ranging from rustic patinated finishes to more formal gilt accents.
The Bowen lithographs are from one of the most iconic visual documentations of Indigenous leaders in 19th-century America.
This collection presents a fascinating intersection of American history, early ethnographic illustration, and 19th-century print culture.
- Creator:McKenney & Hall (Author)
- Dimensions:Height: 15.25 in (38.74 cm)Width: 13.5 in (34.29 cm)Depth: 1.5 in (3.81 cm)
- Sold As:Set of 4
- Style:American Colonial (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1800's
- Condition:Wear consistent with age and use.
- Seller Location:Morristown, NJ
- Reference Number:1stDibs: LU5990244419982
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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