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McKenney and Hall Hand-Painted Lithograph "Chippeway Widow", circa 1837
$1,475
£1,101.59
€1,278.24
CA$2,042.89
A$2,290.06
CHF 1,194.21
MX$28,070.52
NOK 15,132.69
SEK 14,387.12
DKK 9,537.29
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About the Item
"Chippeway Widow" hand-painted color lithograph on paper depicts a Native American Indian woman lamenting the death of her husband, presumably killed in battle with American settlers. As was Chippeway Indian custom, she has selected from his minimal wardrobe, a suit of his best and most colorful clothes to carry around with her where ever she goes during her mourning period. She will take it in a colorful blanket with her to work and to sleep, and treat it with dignity and respect in honor of her husband's memory, for a minimum of one year, during which time she may not marry.
A wonderful article of Americana, this lithograph was made by McKenny and Hall and is dated 1837. It was published by E.C. Biddle in Philadelphia, Pennsylvania and is one of the many Indians (approximately 120) that are portrayed in the major work, "History of The Indian Tribes of North America, Volumes 1-3" by Thomas McKenny and James Hall (from the Library of Congress).
Along with Catlin's "North American Indian Portfolio", these are the two most important works of 19th century North American Indian study. McKenny's work was based on his travel of the west in the late 1820's. Thomas Hall was the "academia" member of the team. Charles Bird King painted the Indian portraits which hung in the Indian Gallery of the War Department. One by one the chiefs and other Indians were brought in to sit for portraits. Other portraits were loosely based on another painter who had traveled with McKenny, J.O. Lewis. The book with the folios and hand-painted lithographs was done in 1836. The significance of this is, that following the transfer of the paintings to the Smithsonian all of the paintings were destroyed in a fire in 1865. So all we have to chronicle those images are these McKenny-Hall lithographs.
Any complete versions of McKenny's folio work are very rare and exist in a few private collections, museums, the Smithsonian etc. There are very few complete versions and most of the lithographs have been removed for framing to display as was this one. This is an authentic and original first edition dated 1837 from the "History of The Indian Tribes of North America" by McKenny and Hall. One way to validate authenticity is that on most of the folios the print comes through slightly on the front from leaving it's mark on the back of the page. Along with the folio, each Indian or scene was described in detail.
Provenance: This particular lithograph has impressive provenance having come from the Sondley Library in Asheville, North Carolina. It had been bequeathed to that library by Forster Alexander Sondley (1857-1931). F.A. Sondley was a successful attorney who studied American history and geography and collected Civil War and American Indian artifacts. The seal of the Sondley library is impressed as a round circle on the lithograph.
A simple but elegant one inch gold leaf frame surrounds the lithograph which is:
19" wide x 23 3/4" high in frame;
17" wide x 21 3/4" high under glass;
and matted to 10 1/4" wide x 14 1/2" high.
Note: Please see the other McKenny & Hall hand painted lithograph I have for sale from the same iconic collection entitled "Rant-Che-Wai-Me"
- Creator:McKenney & Hall (Maker)
- Dimensions:Height: 23.75 in (60.33 cm)Width: 19 in (48.26 cm)Depth: 1 in (2.54 cm)
- Style:Native American (Of the Period)
- Materials and Techniques:
- Period:
- Date of Manufacture:1837
- Condition:
- Seller Location:Incline Village, NV
- Reference Number:1stDibs: LU973232714612
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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matte= 19 1/2" h x 25 1/4" w
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frame= 1 1/4" burl bird's eye maple
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The hand painted lithograph is embellished with script text in the bottom margin of the folio "Entered according to art of congress in the year 1855 by N. Currier in the clerk's office of the southern district of N.Y."
"F.F Palmer...
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