AccessionNumber ArtisticBioCitationDisplay ArtistBioDisplay ArtistBioRaw ArtistId ArtistName ArtistNameDisplay BookAuthor BookAuthorLifeDates BookIllustrator BookIllustratorLifeDates BookPublisher BookTitle Brochure CatalogsPromisedToLender Catalogue CatalogueFigureNo CataloguePermissionReceived CataloguePermissionSet CataloguePermissionStatus ChecklistNumber Citation CloseDate CreationDate CreditLine CreditLineDisplay CurrentDate EnglishDimensions EnglishDimensionsDisplay ExecutionDate ExecutionDateDisplay Exhibition ExhibitionBlurb ExhibitionCode ExhibitionCreditLine ExhibitionCurator ExhibitionTitle ExportForPortal ExtendedCaptionText ImageFilenameFullScreen ImageFilenameHitSize Invitation LandNChapterNo LifeDates LifeDatesDisplay LoanNo Medium MediumDisplay MetricDimensions MetricDimensionsDisplay NewsnamePublisher NMAAGalleries ObjectBookText ObjectBookTextDisplay ObjectBookTextTagged ObjectClass ObjectNameDisplay ObjectNotes ObjectOthSourCitationCode ObjectOthSourCitationDisplay ObjectOthSourDisplay ObjectOthSourText ObjectTextCitationCode ObjectTextCitationDisplay ObjectTitle ObjectTitleDisplay ObjectWallText ObjectWallTextDisplay OpenDate OwningInstitution PageComplete PersonNames PhotoCredit PhotoCreditDisplay PortalExportOrder Poster ProjectCreditLine ProjectTitle PublicationDate PublicationInfo RecordType ResourceNo ResourceText ResourceTextCitation ResourceTextCitationCode ResourceTextDisplay V1CityState V1CloseDate V1OpenDate V2CityState V2CloseDate V2OpenDate V3CityState V3CloseDate V3OpenDate V4CityState V4CloseDate V4OpenDate Venue1 Venue2 Venue3 Venue4 Web WebCaptionGraphic WebDepictionKeys WebJump WebKeywordTribe WebKeywordsArt WebKeywordsFriends WebKeywordsPlaces WebKeywordsShows WebKeywordsYears WebLocation WebLocationKeys Webmaster1 Webmaster2 Webmaster3 WebMediumKeys WebPageName WebPageTitle WebPermissionReceived WebPermissionSent WebPermissionStatus WebSort WebThematicKeys 1939_2_1 814 Catlin, George George Catlin 0 20 Smithsonian American Art Museum Museum purchase through the Catherine Walden Myer Fund Smithsonian American Art Museum, Museum purchase through the Catherine Walden Myer Fund 8/2/02 sight 5 3/8L x 4 :W x 3/4D in. rectangle 1825 1825 1796–1872 watercolor on ivory watercolor on ivory painting painting Mrs. Putnam Catlin (Polly Sutton) Mrs. Putnam Catlin (Polly Sutton) 1946_1_1 814 Catlin, George George Catlin 0 24 Smithsonian American Art Museum Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 sight 3 1/2L x 3 1/4W x 1/2D in. oval about 1830 about 1830 1796–1872 watercolor on ivory watercolor on ivory painting painting Portrait of a Gentleman Portrait of a Gentleman 1948_4_1 814 Catlin, George George Catlin 0 21 Smithsonian American Art Museum Museum purchase through the Catherine Walden Myer Fund Smithsonian American Art Museum, Museum purchase through the Catherine Walden Myer Fund 8/2/02 6 1/2L x 5 1/2W x 3/4D in. rectangle about 1828 about 1828 1796–1872 watercolor on ivory watercolor on ivory painting painting Clara Bartlett Gregory Catlin (Mrs. George) Clara Bartlett Gregory Catlin (Mrs. George) Clara Gregory, daughter of a prominent family from Albany, New York, married George Catlin in 1828. Clara was tougher than she looks. She waited patiently for George to complete his western tours and shared the financial ups and downs of his career. In 1840, Clara followed George to England with three young daughters in tow; a son was born in London in 1843. Her death in Paris from pneumonia in 1845 marked the beginning of the family's disintegration. 1980_126_1 814 Catlin, George George Catlin 0 23 Smithsonian American Art Museum Museum purchase Smithsonian American Art Museum, Museum purchase 8/2/02 3 1/4L x 2 1/4W x 1/2D in. oval about 1826 about 1826 1796–1872 watercolor on ivory watercolor on ivory painting painting William Wilson William Wilson 1984_139_1 814 Catlin, George George Catlin 0 27 Smithsonian American Art Museum Gift of Mr. and Mrs. David C. Morse Smithsonian American Art Museum, Gift of Mr. and Mrs. David C. Morse 8/2/02 19 7/8 x 14 in. (50.5 x 35.6 cm.) about 1825--30 about 1825–30 1796–1872 oil oil painting painting Portrait of a Woman Portrait of a Woman This portrait's awkward homespun style helps explain Catlin's decision to go west. The artist moved from Philadelphia to New York in 1825, just as the city was becoming the capital of American commerce and art. Catlin couldn't measure up to the competition: a prominent New York critic, William Dunlap, labeled him "utterly incompetent." Catlin painted portraits in several other eastern cities, but they were little better. By 1828 he had resolved to try his luck in the West. 1984_139_2 814 Catlin, George George Catlin 0 22 Smithsonian American Art Museum Gift of Mr. and Mrs. David C. Morse Smithsonian American Art Museum, Gift of Mr. and Mrs. David C. Morse 7/28/02 about 1827 about 1827 1796–1872 watercolor on ivory watercolor on ivory painting painting Portrait of Mary Catlin Portrait of Mary Catlin 1985_66_1 814 Catlin, George George Catlin 0 160 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Kee-o-kuk . . . is the present chief of the tribe, a dignified and proud man, with a good share of talent, and vanity enough to force into action all the wit and judgment he possesses, in order to command the attention and respect of the world. At the close of the 'Black Hawk War/ in 1832 . . . Kee-o-kuk was acknowledged chief of the Sacs and Foxes by General Scott, who held a treaty with them at Rock Island. His appointment as chief was in consequence of the friendly position he had taken during the war, holding two-thirds of the warriors neutral, which was no doubt the cause of the sudden and successful termination of the war, and the means of saving much bloodshed. Black Hawk and his two sons [see nos. 2,3,4], as well as his principal advisers and warriors, were brought into Saint Louis in chains, and Kee-o-kuk appointed chief with the assent of the tribe. In his portrait I have represented him in the costume precisely in which he was dressed when he stood for it, with his shield on his arm and his staff (insignia of off ice) in his left hand. There is no Indian chief on the frontier better known at this time, or more highly appreciated for his eloquence, as a public speaker, than Kee-o-kuk, as he has repeatedly visited Washington and others of our Atlantic towns, and made his speeches before thousands, when he has been contending for his people's rights, in their stipulations with the United States Government, for the sale of their lands. . . . After I had painted the portrait of this . . . man at full length . . . he had the vanity to say to me, that he made a fine appearance on horseback, and that he wished me to paint him thus. So I prepared my canvass in the door of the hospital which I occupied, in the dragoon cantonment; and he flourished about for a considerable part of the day in front of me, until the picture was completed. The horse that he rode was the best animal on the frontier. . . . He made a great display on this day, and hundreds of the dragoons and officers were about him, and looking on during the operation. His horse was beautifully caparisoned, and his scalps were carried attached to the bridle-bits" (Letters and Notes, vol. 2, pp. 149-50, 210, 212, pls. 280,290). Painted at the Sauk and Fox village in 1835, according to Letters and Notes. Donaldson gives the wrong date for Catlin's visit to the village, and Roehm is incorrect in assuming that the portrait was done at Jefferson Barracks (see no. 2). Keokuk was the most prominent chief on the frontier in the 1830s, an impressive, overbearing, portly man whom Catlin flattered in two of the most elaborately painted portraits of his western travels. A daguerreotype of Keokuk taken in 1847 (illustrated here) makes one wonder if he could have cut such a fine figure twelve years earlier, although Catlin has given some indication of incipient corpulence in both examples. The standing portrait is based on a classical pose that the artist used frequently for important subjects (see nos. 128, 152), and Keokuk's proportions are as firm and well - articulated as any of Catlin's full-length figures. The profusion of costume accessories is the most striking aspect of the portrait, however. They have been reproduced with unusual clarity, probably in deference to Keokuk's wishes, and with a decorative skill that Catlin did not attempt in his earlier work. Yet their lavish appearance somewhat dilutes the image of strength and independence that was literally proclaimed in the Upper Missouri portraits (where Catlin did edit costume details, see no. 128). He was admittedly biased toward frontier chiefs, who had the trappings, if not the substance, of political authority, and one senses that in the eyes of the artist, Keokuk had been compromised by civilized indulgence-the pride and freedom of the Upper Missouri had been exchanged for an image more Roman than savage. The facial features and the technique of the two Smithsonian portraits are so close that one tends to believe they were painted on the same occasion, as Catlin maintains. In the Smithsonian version (fig. 26), Keokuk sits heavily astride a horse descended from a baroque monument, and wears the same elaborate costume. Why the equestrian portrait is included only in the 183 7 catalogue, and as plate 290 in Letters and Notes, remains a mystery. The draftsmanship of the unfinished University Museum version (a similar equestrian, illustration 1b) is unusually tight and accomplished for 1836, and Keokuk's furrowed face is in marked contrast to his impassive expression in the original portrait. In spite of the signature, the version more likely comes from the late 1840s or early 1850s, when Catlin was busily engaged in copying other paintings from his original collection (see no. 504). Additional examples of his arbitrary dating methods are discussed in numbers 31 and 99. Prominent chiefs on the frontier sat to numerous artists, and McDermott mentions portraits of Keokuk by James Otto Lewis, Peter Rindisbacher, Charles Bird King, John Mix Stanley, and Ferdinand Pettrich, and the daguerreotype of 1847. Donaldson says that Charles Deas also had a chance to observe the chief. The standing portrait of Keokuk is repeated in cartoon 15 (NGA 2054), with his wife and another Sauk chief. The cartoon is based on a watercolor (pl. 44) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum für Volkerkunde, Berlin. The equestrian portrait is repeated in cartoon 16 (NGA 2055).

“Kee-o-kuk … is the present chief of the tribe, a dignified and proud man, with a good share of talent, and vanity enough to force into action all the wit and judgment he possesses, in order to command the attention and respect of the world. At the close of the ‘Black Hawk War’ in 1832 … Kee-o-kuk was acknowledged chief of the Sacs and Foxes by General Scott, who held a treaty with them at Rock Island. His appointment as chief was in consequence of the friendly position he had taken during the war, holding two-thirds of the warriors neutral, which was no doubt the cause of the sudden and successful termination of the war, and the means of saving much bloodshed. Black Hawk and his two sons, as well as his principal advisers and warriors, were brought into Saint Louis in chains, and Kee-o-kuk appointed chief with the assent of the tribe. In his portrait I have represented him in the costume precisely in which he was dressed when he stood for it, with his shield on his arm and his staff (insignia of off ice) in his left hand. There is no Indian chief on the frontier better known at this time, or more highly appreciated for his eloquence, as a public speaker, than Kee-o-kuk, as he has repeatedly visited Washington and others of our Atlantic towns, and made his speeches before thousands, when he has been contending for his people's rights, in their stipulations with the United States Government, for the sale of their lands.…

“After I had painted the portrait of this … man at full length … he had the vanity to say to me, that he made a fine appearance on horseback, and that he wished me to paint him thus. So I prepared my canvass in the door of the hospital which I occupied, in the dragoon cantonment; and he flourished about for a considerable part of the day in front of me, until the picture was completed. The horse that he rode was the best animal on the frontier. … He made a great display on this day, and hundreds of the dragoons and officers were about him, and looking on during the operation. His horse was beautifully caparisoned, and his scalps were carried attached to the bridle-bits” (Letters and Notes, vol. 2, pp. 149–50, 210, 212, pls. 280,290).

Painted at the Sauk and Fox village in 1835, according to Letters and Notes. Donaldson gives the wrong date for Catlin's visit to the village, and Roehm is incorrect in assuming that the portrait was done at Jefferson Barracks. Keokuk was the most prominent chief on the frontier in the 1830s, an impressive, overbearing, portly man whom Catlin flattered in two of the most elaborately painted portraits of his western travels. A daguerreotype of Keokuk taken in 1847 makes one wonder if he could have cut such a fine figure twelve years earlier, although Catlin has given some indication of incipient corpulence in both examples.

The standing portrait is based on a classical pose that the artist used frequently for important subjects, and Keokuk's proportions are as firm and well-articulated as any of Catlin's full-length figures. The profusion of costume accessories is the most striking aspect of the portrait, however. They have been reproduced with unusual clarity, probably in deference to Keokuk's wishes, and with a decorative skill that Catlin did not attempt in his earlier work. Yet their lavish appearance somewhat dilutes the image of strength and independence that was literally proclaimed in the Upper Missouri portraits (where Catlin did edit costume details). He was admittedly biased toward frontier chiefs, who had the trappings, if not the substance, of political authority, and one senses that in the eyes of the artist, Keokuk had been compromised by civilized indulgence—the pride and freedom of the Upper Missouri had been exchanged for an image more Roman than savage.

The facial features and the technique of the two Smithsonian portraits are so close that one tends to believe they were painted on the same occasion, as Catlin maintains. In the Smithsonian version (fig. 26), Keokuk sits heavily astride a horse descended from a baroque monument, and wears the same elaborate costume. Why the equestrian portrait is included only in the 1837 catalogue, and as plate 290 in Letters and Notes, remains a mystery.

The draftsmanship of the unfinished University Museum version (a similar equestrian [image]) is unusually tight and accomplished for 1836, and Keokuk's furrowed face is in marked contrast to his impassive expression in the original portrait. In spite of the signature, the version more likely comes from the late 1840s or early 1850s, when Catlin was busily engaged in copying other paintings from his original collection. Additional examples of his arbitrary dating methods are discussed in numbers 31 and 99.

Prominent chiefs on the frontier sat to numerous artists, and McDermott mentions portraits of Keokuk by James Otto Lewis, Peter Rindisbacher, Charles Bird King, John Mix Stanley, and Ferdinand Pettrich, and the daguerreotype of 1847. Donaldson says that Charles Deas also had a chance to observe the chief. The standing portrait of Keokuk is repeated in cartoon 15, with his wife and another Sauk chief. The cartoon is based on a watercolor (pl. 44) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum für Völkerkunde, Berlin. The equestrian portrait is repeated in cartoon 16.

“Kee-o-kuk … is the present chief of the tribe, a dignified and proud man, with a good share of talent, and vanity enough to force into action all the wit and judgment he possesses, in order to command the attention and respect of the world. At the close of the ‘Black Hawk War’ in 1832 … Kee-o-kuk was acknowledged chief of the Sacs and Foxes by General Scott, who held a treaty with them at Rock Island. His appointment as chief was in consequence of the friendly position he had taken during the war, holding two-thirds of the warriors neutral, which was no doubt the cause of the sudden and successful termination of the war, and the means of saving much bloodshed. Black Hawk and his two sons [see nos. 2,3,4], as well as his principal advisers and warriors, were brought into Saint Louis in chains, and Kee-o-kuk appointed chief with the assent of the tribe. In his portrait I have represented him in the costume precisely in which he was dressed when he stood for it, with his shield on his arm and his staff (insignia of off ice) in his left hand. There is no Indian chief on the frontier better known at this time, or more highly appreciated for his eloquence, as a public speaker, than Kee-o-kuk, as he has repeatedly visited Washington and others of our Atlantic towns, and made his speeches before thousands, when he has been contending for his people's rights, in their stipulations with the United States Government, for the sale of their lands.…

“After I had painted the portrait of this … man at full length … he had the vanity to say to me, that he made a fine appearance on horseback, and that he wished me to paint him thus. So I prepared my canvass in the door of the hospital which I occupied, in the dragoon cantonment; and he flourished about for a considerable part of the day in front of me, until the picture was completed. The horse that he rode was the best animal on the frontier. … He made a great display on this day, and hundreds of the dragoons and officers were about him, and looking on during the operation. His horse was beautifully caparisoned, and his scalps were carried attached to the bridle-bits” (Letters and Notes, vol. 2, pp. 149–50, 210, 212, pls. 280,290).

Painted at the Sauk and Fox village in 1835, according to Letters and Notes. Donaldson gives the wrong date for Catlin's visit to the village, and Roehm is incorrect in assuming that the portrait was done at Jefferson Barracks (see no. 2). Keokuk was the most prominent chief on the frontier in the 1830s, an impressive, overbearing, portly man whom Catlin flattered in two of the most elaborately painted portraits of his western travels. A daguerreotype of Keokuk taken in 1847 (illustrated here) makes one wonder if he could have cut such a fine figure twelve years earlier, although Catlin has given some indication of incipient corpulence in both examples.

The standing portrait is based on a classical pose that the artist used frequently for important subjects (see nos. 128, 152), and Keokuk's proportions are as firm and well-articulated as any of Catlin's full-length figures. The profusion of costume accessories is the most striking aspect of the portrait, however. They have been reproduced with unusual clarity, probably in deference to Keokuk's wishes, and with a decorative skill that Catlin did not attempt in his earlier work. Yet their lavish appearance somewhat dilutes the image of strength and independence that was literally proclaimed in the Upper Missouri portraits (where Catlin did edit costume details, see no. 128). He was admittedly biased toward frontier chiefs, who had the trappings, if not the substance, of political authority, and one senses that in the eyes of the artist, Keokuk had been compromised by civilized indulgence—the pride and freedom of the Upper Missouri had been exchanged for an image more Roman than savage.

The facial features and the technique of the two Smithsonian portraits are so close that one tends to believe they were painted on the same occasion, as Catlin maintains. In the Smithsonian version (fig. 26), Keokuk sits heavily astride a horse descended from a baroque monument, and wears the same elaborate costume. Why the equestrian portrait is included only in the 1837 catalogue, and as plate 290 in Letters and Notes, remains a mystery.

The draftsmanship of the unfinished University Museum version (a similar equestrian, illustration 1b) is unusually tight and accomplished for 1836, and Keokuk's furrowed face is in marked contrast to his impassive expression in the original portrait. In spite of the signature, the version more likely comes from the late 1840s or early 1850s, when Catlin was busily engaged in copying other paintings from his original collection (see no. 504). Additional examples of his arbitrary dating methods are discussed in numbers 31 and 99.

Prominent chiefs on the frontier sat to numerous artists, and McDermott mentions portraits of Keokuk by James Otto Lewis, Peter Rindisbacher, Charles Bird King, John Mix Stanley, and Ferdinand Pettrich, and the daguerreotype of 1847. Donaldson says that Charles Deas also had a chance to observe the chief. The standing portrait of Keokuk is repeated in cartoon 15 (NGA 2054), with his wife and another Sauk chief. The cartoon is based on a watercolor (pl. 44) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum für Völkerkunde, Berlin. The equestrian portrait is repeated in cartoon 16 (NGA 2055).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kee-o-kuk, The Watchful Fox, Chief of the Tribe Kee-o-kúk, The Watchful Fox, Chief of the Tribe Keokuk was chief of the Sac and Fox, and his rivalry with the warrior Black Hawk exemplifies the divisions that developed within tribes as they struggled to retain sovereignty in the face of frontier settlement. Unlike Black Hawk, who fought U.S. expansion, Keokuk thought warfare with the United States fruitless and signed over land in Illinois, Missouri, and Wisconsin. Their differences, played out over decades, highlight the breakdown of tribal government.

Keokuk was chief of the Sac and Fox, and his rivalry with the warrior Black Hawk exemplifies the divisions that developed within tribes as they struggled to retain sovereignty in the face of frontier settlement. Unlike Black Hawk, who fought U.S. expansion, Keokuk thought warfare with the United States fruitless and signed over land in Illinois, Missouri, and Wisconsin. Their differences, played out over decades, highlight the breakdown of tribal government.

28 George Catlin Object Sac and Fox Sac and Fox 1985_66_10 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at the Sauk and Fox village in 1835 (see no. 1). The Buck's Wife, wrapped in her Mackinaw blanket, also appears in cartoon 13 (NGA 2052), with her husband (no 9).

Painted at the Sauk and Fox village in 1835. The Buck's Wife, wrapped in her Mackinaw blanket, also appears in cartoon 13, with her husband.

Painted at the Sauk and Fox village in 1835. The Buck's Wife, wrapped in her Mackinaw blanket, also appears in cartoon 13, with her husband.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wa-quoth-e-qua,The Buck's Wife, wife of The Whale Wa-quóth-e-qua, The Buck's Wife, Wife of the Whale George Catlin Object Sac and Fox 1985_66_100 814 Catlin, George George Catlin 0 57 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin "as a warrior of great distinction," Buffalo Bull appears "with his medicine or totem (the head of a buffalo) painted on his breast and his face, with bow and arrow in his hands" (Letters and Notes, vol. 2, p. 27, pl. 140). Probably painted at Fort Leavenworth in 1832 (see no. 99). Several unfinished portraits in the Pawnee series show the rapid oil strokes that Catlin used to block in figure and costume at the initial sitting, and what color and detail remained to be filled in after he returned to St. Louis. Buffalo Bull appears again in cartoon 23 (NGA 2018), with his wife and children, and two Pawnee warriors.

Described by Catlin “as a warrior of great distinction,” Buffalo Bull appears “with his medicine or totem (the head of a buffalo) painted on his breast and his face, with bow and arrow in his hands” (Letters and Notes, vol. 2, p. 27, pl. 140).

Probably painted at Fort Leavenworth in 1832. Several unfinished portraits in the Pawnee series show the rapid oil strokes that Catlin used to block in figure and costume at the initial sitting, and what color and detail remained to be filled in after he returned to St. Louis.

Buffalo Bull appears again in cartoon 23, with his wife and children, and two Pawnee warriors.

Described by Catlin “as a warrior of great distinction,” Buffalo Bull appears “with his medicine or totem (the head of a buffalo) painted on his breast and his face, with bow and arrow in his hands” (Letters and Notes, vol. 2, p. 27, pl. 140).

Probably painted at Fort Leavenworth in 1832 (see no. 99). Several unfinished portraits in the Pawnee series show the rapid oil strokes that Catlin used to block in figure and costume at the initial sitting, and what color and detail remained to be filled in after he returned to St. Louis.

Buffalo Bull appears again in cartoon 23 (NGA 2018), with his wife and children, and two Pawnee warriors.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). La-doo-kee-a, Buffalo Bull, a Grand Pawnee warrior La-dóo-ke-a, Buffalo Bull, a Grand Pawnee Warrior This unfinished portrait of a Chaui Pawnee provides a key to Catlin's working methods in the West, where speed was of the essence. During Buffalo Bull's sitting, Catlin focused on his face and his totem (the buffalo head painted on his chest, partially hidden behind a large peace medal). The artist usually finished bodies and costume details in an urban studio.

This unfinished portrait of a Chaui Pawnee provides a key to Catlin's working methods in the West, where speed was of the essence. During Buffalo Bull's sitting, Catlin focused on his face and his totem (the buffalo head painted on his chest, partially hidden behind a large peace medal). The artist usually finished bodies and costume details in an urban studio.

8 George Catlin Object Pawnee Pawnee 1985_66_101 814 Catlin, George George Catlin 0 284 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100).

Probably painted at Fort Leavenworth in 1832.

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ah-shaw-wah-rooks-te, Medicine Horse, a Grand Pawnee brave Ah-sháw-wah-róoks-te, Medicine Horse, a Grand Pawnee Brave George Catlin Object Pawnee Pawnee 1985_66_102 814 Catlin, George George Catlin 0 19 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see no. 99). Even the blanket does not obscure Catlin's inability to render correctly the proportions of a seated figure. Little Chief also sat to Charles Bird King in Washington (see Ewers [19531, p. 471).

Probably painted at Fort Leavenworth in 1832. Even the blanket does not obscure Catlin's inability to render correctly the proportions of a seated figure. Little Chief also sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

Probably painted at Fort Leavenworth in 1832 (see no. 99). Even the blanket does not obscure Catlin's inability to render correctly the proportions of a seated figure. Little Chief also sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). La-ke-too-wi-ra-sha, Little Chief, a Tapage Pawnee warrior La-ké-too-wi-rá-sha, Little Chief, a Tapage Pawnee Warrior George Catlin Object Pawnee 1985_66_103 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100). The subject is supposed to appear again in cartoon 23 (NGA 2018), but that figure more closely resembles Big Elk (no. 108). Catlin seems to have made numerous errors in identifying the cartoon figures (see nos. 104, 113).

Probably painted at Fort Leavenworth in 1832. The subject is supposed to appear again in cartoon 23, but that figure more closely resembles Big Elk. Catlin seems to have made numerous errors in identifying the cartoon figures.

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100). The subject is supposed to appear again in cartoon 23 (NGA 2018), but that figure more closely resembles Big Elk (no. 108). Catlin seems to have made numerous errors in identifying the cartoon figures (see nos. 104, 113).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Loo-ra-wee-re-coo, Bird that Goes to War, a Tapage Pawnee Loo-rá-wée-re-coo, Bird that Goes to War, a Tapage Pawnee George Catlin Object 1985_66_104 814 Catlin, George George Catlin 0 370 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see no. 99). The subject is supposed to appear again in cartoon 23 (NGA 2018), but that figure more closely resembles Big Elk (no. 114). See numbers 103 and 113.

Probably painted at Fort Leavenworth in 1832. The subject is supposed to appear again in cartoon 23, but that figure more closely resembles Big Elk.

Probably painted at Fort Leavenworth in 1832 (see no. 99). The subject is supposed to appear again in cartoon 23 (NGA 2018), but that figure more closely resembles Big Elk (no. 114). See numbers 103 and 113.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). A'h-sha-la-coots-ah, Mole in the Forehead, chief of the Republican Pawnee A'h-sha-la-cóots-ah, Mole in the Forehead, Chief of the Republican Pawnee George Catlin Object Pawnee Pawnee 1985_66_105 814 Catlin, George George Catlin 0 401 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100).

Probably painted at Fort Leavenworth in 1832.

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). La-shah-le-staw-hix, Man Chief, a Republican Pawnee Lá-shah-le-stáw-hix, Man Chief, a Republican Pawnee George Catlin Object Pawnee Pawnee 1985_66_106 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see no. 99). Catlin may have finished the robe and legs long after the original sketch of the head and shoulders, thus the dwarflike appearance of the subject (see no. 102).

Probably painted at Fort Leavenworth in 1832. Catlin may have finished the robe and legs long after the original sketch of the head and shoulders, thus the dwarflike appearance of the subject.

Probably painted at Fort Leavenworth in 1832 (see no. 99). Catlin may have finished the robe and legs long after the original sketch of the head and shoulders, thus the dwarflike appearance of the subject (see no. 102).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). La-wee-re-coo-re-shaw-wee, War Chief, a Republican Pawnee La-wée-re-coo-re-shaw-wee, War Chief, a Republican Pawnee George Catlin Object Pawnee 1985_66_107 see previous 814 Catlin, George George Catlin 0 LW080 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a fine-looking fellow, with a pipe in one hand and his whip in the other" (1848 catalogue, p. 17). Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100). The figure of The Cheyenne is much the same in both the Gilcrease and Smithsonian portraits, but a background landscape with skin lodges has been added to the former. The eggshaped appearance of the subject's head in the watercolor reveals its status as a later version of the Smithsonian original (see nos. 46, 55, 62).

Described by Catlin as “a fine-looking fellow, with a pipe in one hand and his whip in the other” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832 . The figure of The Cheyenne is much the same in both the Gilcrease and Smithsonian portraits, but a background landscape with skin lodges has been added to the former. The eggshaped appearance of the subject's head in the watercolor reveals its status as a later version of the Smithsonian original .

Described by Catlin as “a fine-looking fellow, with a pipe in one hand and his whip in the other” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 100). The figure of The Cheyenne is much the same in both the Gilcrease and Smithsonian portraits, but a background landscape with skin lodges has been added to the former. The eggshaped appearance of the subject's head in the watercolor reveals its status as a later version of the Smithsonian original (see nos. 46, 55, 62).

painting painting

The Cheyenne is in full regalia, with a large peace medal, strings of “wampum beads” around his neck, and a striking painted handprint across his mouth. The bold brushwork throughout the robe, the blank background, and unfinished appearance of this work are reminders that Catlin often had to work quickly to capture a likeness on the spot.

The Cheyenne is in full regalia, with a large peace medal, strings of "wampum beads" around his neck, and a striking painted handprint across his mouth. The bold brushwork throughout the robe, the blank background, and unfinished appearance of this work are reminders that Catlin often had to work quickly to capture a likeness on the spot. Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Te-ah'ke-ra-loee-re-coo, The Cheyenne, a Republican Pawnee Te-ah'-ke-ra-léee-re-coo,The Cheyenne, a Republican Pawnee George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art 1985_66_108 814 Catlin, George George Catlin 0 368 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see no. 99). The feathers are missing from Big Elk's roach in plate 141 of Letters and Notes, and two lodges have been added to the landscape behind him. He later sat to Charles Bird King in Washington (see Ewers [1953], p. 471). Big Elk supposedly appears again in cartoon 24 (NGA 2019), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 109, 111, 113). A figure that does resemble the Smithsonian painting stands beside Buffalo Bull in cartoon 23, but he is incorrectly identified in the 1871 catalogue as Bird that Goes to War (no. 103). Cartoon 24 is based on a watercolor (pl. 34) in the Gilcrease Souvenir album, which also appears to be mislabeled.

Probably painted at Fort Leavenworth in 1832. The feathers are missing from Big Elk's roach in plate 141 of Letters and Notes, and two lodges have been added to the landscape behind him. He later sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

Big Elk supposedly appears again in cartoon 24, but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled. A figure that does resemble the Smithsonian painting stands beside Buffalo Bull in cartoon 23, but he is incorrectly identified in the 1871 catalogue as Bird that Goes to War.

Cartoon 24 is based on a watercolor (pl. 34) in the Gilcrease Souvenir album, which also appears to be mislabeled.

Probably painted at Fort Leavenworth in 1832 (see no. 99). The feathers are missing from Big Elk's roach in plate 141 of Letters and Notes, and two lodges have been added to the landscape behind him. He later sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

Big Elk supposedly appears again in cartoon 24 (NGA 2019), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 109, 111, 113). A figure that does resemble the Smithsonian painting stands beside Buffalo Bull in cartoon 23, but he is incorrectly identified in the 1871 catalogue as Bird that Goes to War (no. 103).

Cartoon 24 is based on a watercolor (pl. 34) in the Gilcrease Souvenir album, which also appears to be mislabeled.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Le-shaw-loo-lah-le-hoo, Big Elk, chief of the Skidi (Wolf) Pawnee Le-sháw-loo-láh-le-hoo, Big Elk, Chief of the Skidi (Wolf) Pawnee George Catlin Object Pawnee Pawnee 1985_66_11 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a very old man, holding his shield, staff and pipe in his hands; has long been the head civil chief of this tribe; but . . . has resigned his office to those younger and better qualified" (Letters and Notes, vol. 2, p. 211, pl. 289). Little Stabbing Chief sided with Keokuk during the Black Hawk War. Painted at the Sauk and Fox village in 1835 (see no. 1). Little Stabbing Chief appears in cartoon 15 (NGA 2054), which is based on a watercolor (pl. 44) in the Gilcrease Souvenir album. Some years earlier the subject had sat for Charles Bird King in Washington (see McKenney and Hall, vol. 1, pp. 195-96).

Described by Catlin as “a very old man, holding his shield, staff and pipe in his hands; has long been the head civil chief of this tribe; but … has resigned his office to those younger and better qualified” (Letters and Notes, vol. 2, p. 211, pl. 289).

Little Stabbing Chief sided with Keokuk during the Black Hawk War.

Painted at the Sauk and Fox village in 1835. Little Stabbing Chief appears in cartoon 15, which is based on a watercolor (pl. 44) in the Gilcrease Souvenir album. Some years earlier the subject had sat for Charles Bird King in Washington (see McKenney and Hall, vol. 1, pp. 195–96).

Described by Catlin as “a very old man, holding his shield, staff and pipe in his hands; has long been the head civil chief of this tribe; but … has resigned his office to those younger and better qualified” (Letters and Notes, vol. 2, p. 211, pl. 289).

Little Stabbing Chief sided with Keokuk during the Black Hawk War.

Painted at the Sauk and Fox village in 1835 (see no. 1). Little Stabbing Chief appears in cartoon 15 (NGA 2054), which is based on a watercolor (pl. 44) in the Gilcrease Souvenir album. Some years earlier the subject had sat for Charles Bird King in Washington (see McKenney and Hall, vol. 1, pp. 195–96).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pash-ee-pa-ho, Little Stabbing Chief, an venerable Sac Chief Pash-ee-pa-hó, Little Stabbing Chief, an Venerable Sac Chief George Catlin Object Sac and Fox 1985_66_110 814 Catlin, George George Catlin 0 247 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes Brave Chief as having "impressions of hands painted on his breast" (1848 catalogue, p. 17). Probably painted at Fort Leavenworth in 1832 (see no. 99).

Catlin describes Brave Chief as having “impressions of hands painted on his breast” (1848 catalogue, p. 17). Big Chief supposedly appears again in cartoon 24. As the identity of the other two figures in that cartoon is questionable, however, all three may have been mislabeled.

Probably painted at Fort Leavenworth in 1832.

Catlin describes Brave Chief as having “impressions of hands painted on his breast” (1848 catalogue, p. 17). Big Chief supposedly appears again in cartoon 24. As the identity of the other two figures in that cartoon is questionable, however, all three may have been mislabeled.

Probably painted at Fort Leavenworth in 1832.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). La-wah-he-coots-la-shaw-no, Brave Chief, a Skidi (Wolf) Pawnee La-wáh-he-coots-la-sháw-no, Brave Chief, a Skidi (Wolf) Pawnee George Catlin Object Pawnee Pawnee 1985_66_111 814 Catlin, George George Catlin 0 397 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see no, 99). The subject supposedly appears again in cartoon 24 (NGA 2019), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 108, 109, 113.).

Probably painted at Fort Leavenworth in 1832. The subject supposedly appears again in cartoon 24, but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled.

Probably painted at Fort Leavenworth in 1832 (see no, 99). The subject supposedly appears again in cartoon 24 (NGA 2019), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 108, 109, 113.).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). L'har-e-tar-rushe, ll-natured Man, a Skidi (Wolf) Pawnee L'har-e-tar-rúshe, Ill-natured Man, a Skidi (Wolf) Pawnee George Catlin Object Pawnee Pawnee 1985_66_113 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Brave Chief later sat to Charles Bird King in Washington (see Ewers [19531, p. 470). The subject is supposed to appear again in cartoon 21 (NGA 22 7 1), but the Smithsonian portrait actually matches the central figure in cartoon 24, who is identified in the 1871 catalogue as III Natured Man (no. I 11). Either Catlin selected the wrong figures in composing these two cartoons, or they have since become mislabeled (see nos. 108, 109, 111, 115). Cartoon 21 is based on a watercolor (pl. 16) in the Gilcrease Souvenir album, which apparently is also mislabeled.

Probably painted at Fort Leavenworth in 1832. Brave Chief later sat to Charles Bird King in Washington (see Ewers [1953], p. 470).

The subject is supposed to appear again in cartoon 21, but the Smithsonian portrait actually matches the central figure in cartoon 24, who is identified in the 1871 catalogue as III Natured Man. Either Catlin selected the wrong figures in composing these two cartoons, or they have since become mislabeled. Cartoon 21 is based on a watercolor (pl. 16) in the Gilcrease Souvenir album, which apparently is also mislabeled.

Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Brave Chief later sat to Charles Bird King in Washington (see Ewers [1953], p. 470).

The subject is supposed to appear again in cartoon 21 (NGA 2271), but the Smithsonian portrait actually matches the central figure in cartoon 24, who is identified in the 1871 catalogue as III Natured Man (no. I 11). Either Catlin selected the wrong figures in composing these two cartoons, or they have since become mislabeled (see nos. 108, 109, 111, 115). Cartoon 21 is based on a watercolor (pl. 16) in the Gilcrease Souvenir album, which apparently is also mislabeled.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ki-ho-ga-waw-shu-shee, Brave Chief, chief of the tribe Ki-hó-ga-waw-shú-shee, Brave Chief, Chief of the Tribe George Catlin Object Omaha 1985_66_114 814 Catlin, George George Catlin 0 243 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Big Elk sat for his portrait, according to Catlin, "with his tomahawk in his hand, and face painted black, for war" (Letters and Notes, vol. 2, pp. 27-28, pl. 146). Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Plate 146 in Letters and Notes is a duplicate of the Smithsonian painting, but the figure of Big Elk in cartoon 20 (AMNH 165) is so unlike the latter that the cartoon must be mislabeled (see nos. 112, 116). The Smithsonian painting actually resembles a figure at the extreme right of cartoon 23, who is identified in the 18 71 catalogue as Mole in the Forehead (no. 104). Big Elk sat for Charles Bird King some years earlier in Washington (see McKenney and Hall, vol. 1, pp. 281-82).

Big Elk sat for his portrait, according to Catlin, “with his tomahawk in his hand, and face painted black, for war” (Letters and Notes, vol. 2, pp. 27–28, pl. 146).

Probably painted at Fort Leavenworth in 1832. Plate 146 in Letters and Notes is a duplicate of the Smithsonian painting, but the figure of Big Elk in cartoon 20 is so unlike the latter that the cartoon must be mislabeled. The Smithsonian painting actually resembles a figure at the extreme right of cartoon 23, who is identified in the 1871 catalogue as Mole in the Forehead.

Big Elk sat for Charles Bird King some years earlier in Washington (see McKenney and Hall, vol. 1, pp. 281–82).

Big Elk sat for his portrait, according to Catlin, “with his tomahawk in his hand, and face painted black, for war” (Letters and Notes, vol. 2, pp. 27–28, pl. 146).

Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Plate 146 in Letters and Notes is a duplicate of the Smithsonian painting, but the figure of Big Elk in cartoon 20 (AMNH 165) is so unlike the latter that the cartoon must be mislabeled (see nos. 112, 116). The Smithsonian painting actually resembles a figure at the extreme right of cartoon 23, who is identified in the 1871 catalogue as Mole in the Forehead (no. 104).

Big Elk sat for Charles Bird King some years earlier in Washington (see McKenney and Hall, vol. 1, pp. 281–82).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Om-pah-ton-ga, Big Elk, a famous warrior Om-pah-tón-ga, Big Elk, a Famous Warrior George Catlin Object Omaha Omaha 1985_66_115 814 Catlin, George George Catlin 0 59 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). The subject supposedly appears again in cartoon 21 (NGA 22 7 1), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 111, 113).

Probably painted at Fort Leavenworth in 1832. The subject supposedly appears again in cartoon 21, but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled.

Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). The subject supposedly appears again in cartoon 21 (NGA 2271), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 111, 113).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Shaw-da-mon-nee, There He Goes, a brave Sháw-da-mon-nee, There He Goes, a Brave George Catlin Object Omaha Omaha 1985_66_116 814 Catlin, George George Catlin 0 60 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Double Walker is supposed to appear again in cartoon 20 (AMNH 165), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 112, 114), as is the watercolor (pl. 18) in the Gilcrease Souvenir album, which is the original study for the cartoon. The painting at Yale (see Withington), another version of the cartoon figure, is identified as Double Walker in an inscription on the back by the artist, but the costume is so different from the other Omaha portraits that one is reluctant to accept even such direct evidence. Catlin's mistakes in naming the characters of the cartoon collection are legion (see nos. 58, 59, 89, 113, 114).

Probably painted at Fort Leavenworth in 1832. Double Walker is supposed to appear again in cartoon 20, but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled, as is the watercolor (pl. 18) in the Gilcrease Souvenir album, which is the original study for the cartoon.

The painting at Yale (see Withington), another version of the cartoon figure, is identified as Double Walker in an inscription on the back by the artist, but the costume is so different from the other Omaha portraits that one is reluctant to accept even such direct evidence. Catlin's mistakes in naming the characters of the cartoon collection are legion.

Probably painted at Fort Leavenworth in 1832 (see nos. 112, 99). Double Walker is supposed to appear again in cartoon 20 (AMNH 165), but the Smithsonian painting is so unlike the cartoon figure that the latter must be mislabeled (see nos. 112, 114), as is the watercolor (pl. 18) in the Gilcrease Souvenir album, which is the original study for the cartoon.

The painting at Yale (see Withington), another version of the cartoon figure, is identified as Double Walker in an inscription on the back by the artist, but the costume is so different from the other Omaha portraits that one is reluctant to accept even such direct evidence. Catlin's mistakes in naming the characters of the cartoon collection are legion (see nos. 58, 59, 89, 113, 114).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Nom-ba-mon-nee, Double Walker, a brave Nóm-ba-mon-nee, Double Walker, a Brave Double Walker wears a buffalo robe, a Plains wardrobe basic for thousands of years, and leggings fringed with scalp locks. His hair is dressed with a roach of stiff animal hair dyed with vermilion and decorated with a single feather that may indicate he was a warrior.

Double Walker wears a buffalo robe, a Plains wardrobe basic for thousands of years, and leggings fringed with scalp locks. His hair is dressed with a roach of stiff animal hair dyed with vermilion and decorated with a single feather that may indicate he was a warrior.

George Catlin Object Omaha Omaha 1985_66_117 814 Catlin, George George Catlin 0 61 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "quite an old man; his shirt made of the skin of a grizzly bear, with the claws on" (1848 catalogue, p. 17). Probably painted at Fort Leavenworth in 1832 (see nos. 99, 112). The Oto portraits generally follow the style of the Pawnee and Omaha series. Plate 33 in Donaldson is mistakenly identified as The Surrounder (see no. 120). The Gilcrease and Smithsonian portraits are identical in detail, but the roughly brushed visage of the latter is clearly the life study (see no. 107). The Surrounder ranks with Horse Chief (no. 99), whom he somewhat resembles, as one of Catlin's most powerfully modeled portraits, again indicating that the best date for the Oto series is probably 1832. The Surrounder supposedly appears again in the center of cartoon 19 (NGA 2058), but the figure does not resemble the Smithsonian portrait (see nos. 116, 120). Charles Bird King's portrait of the subject is no longer extant (see Ewers [1953], p. 470).

Described by Catlin as “quite an old man; his shirt made of the skin of a grizzly bear, with the claws on” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832. The Oto portraits generally follow the style of the Pawnee and Omaha series. Plate 33 in Donaldson is mistakenly identified as The Surrounder.

The Gilcrease and Smithsonian portraits are identical in detail, but the roughly brushed visage of the latter is clearly the life study. The Surrounder ranks with Horse Chief, whom he somewhat resembles, as one of Catlin's most powerfully modeled portraits, again indicating that the best date for the Oto series is probably 1832.

The Surrounder supposedly appears again in the center of cartoon 19, but the figure does not resemble the Smithsonian portrait. Charles Bird King's portrait of the subject is no longer extant (see Ewers [1953], p. 470).

Described by Catlin as “quite an old man; his shirt made of the skin of a grizzly bear, with the claws on” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 112). The Oto portraits generally follow the style of the Pawnee and Omaha series. Plate 33 in Donaldson is mistakenly identified as The Surrounder (see no. 120).

The Gilcrease and Smithsonian portraits are identical in detail, but the roughly brushed visage of the latter is clearly the life study (see no. 107). The Surrounder ranks with Horse Chief (no. 99), whom he somewhat resembles, as one of Catlin's most powerfully modeled portraits, again indicating that the best date for the Oto series is probably 1832.

The Surrounder supposedly appears again in the center of cartoon 19 (NGA 2058), but the figure does not resemble the Smithsonian portrait (see nos. 116, 120). Charles Bird King's portrait of the subject is no longer extant (see Ewers [1953], p. 470).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-ro-nee-sah, The Surrounder, chief of the tribe Wah-ro-née-sah, The Surrounder, Chief of the Tribe The Surrounder was chief of the Otoe tribe, who lived in spacious timber lodges roofed with earth perched on a ridge overlooking the Platte River. His bear claw necklace suggests that he was a member of the Bear Clan, which shared leadership of the Otoes with the Buffalo Clan.

The Surrounder was chief of the Otoe tribe, who lived in spacious timber lodges roofed with earth perched on a ridge overlooking the Platte River. His bear claw necklace suggests that he was a member of the Bear Clan, which shared leadership of the Otoes with the Buffalo Clan.

George Catlin Object Otoe/Jiwere-Nutachi Otoe/Jiwere-Nutachi 1985_66_119 814 Catlin, George George Catlin 0 246 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes this portrait as a "sketch quite unfinished; beautiful dress, trimmed with a profusion of scalp-locks and eagles' quills; pipe in his hand, and necklace of grisly bears' claws" (1848 catalogue, p. 17). Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). The degree of finish in this portrait perhaps represents what Catlin hoped to achieve in the single sitting he normally allowed his Indian subjects (see no. 100). Another portrait of He Who Strikes Two at Once is illustrated in McKenney and Hall (vol. 3, p. 16).

Catlin describes this portrait as a “sketch quite unfinished; beautiful dress, trimmed with a profusion of scalp-locks and eagles' quills; pipe in his hand, and necklace of grisly bears' claws” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832. The degree of finish in this portrait perhaps represents what Catlin hoped to achieve in the single sitting he normally allowed his Indian subjects. Another portrait of He Who Strikes Two at Once is illustrated in McKenney and Hall (vol. 3, p. 16).

Catlin describes this portrait as a “sketch quite unfinished; beautiful dress, trimmed with a profusion of scalp-locks and eagles' quills; pipe in his hand, and necklace of grisly bears' claws” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). The degree of finish in this portrait perhaps represents what Catlin hoped to achieve in the single sitting he normally allowed his Indian subjects (see no. 100). Another portrait of He Who Strikes Two at Once is illustrated in McKenney and Hall (vol. 3, p. 16).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). No-way-ke-sug-gah, He Who Strikes Two at Once, a brave No-wáy-ke-súg-gah, He Who Strikes Two at Once, a Brave George Catlin Object Otoe/Jiwere-Nutachi Otoe/Jiwere-Nutachi 1985_66_12 see previous 814 Catlin, George George Catlin 0 252 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes the subject as having "his body curiously ornamented with his 'war-paint' " (Letters and Notes, vol. 2, p. 212). Painted at Jefferson Barracks in October 1832. The loway has no goatee in the Field Museum version; otherwise, the two portraits are almost identical.

Catlin describes the subject as having “his body curiously ornamented with his ‘war-paint’ ” (Letters and Notes, vol. 2, p. 212).

Painted at Jefferson Barracks in October 1832 . The loway has no goatee in the Field Museum version; otherwise, the two portraits are almost identical.

Catlin describes the subject as having “his body curiously ornamented with his ‘war-paint’ ” (Letters and Notes, vol. 2, p. 212).

Painted at Jefferson Barracks in October 1832 (see no. 2). The loway has no goatee in the Field Museum version; otherwise, the two portraits are almost identical (see no. 3).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ioway, One of Black Hawk's Principal Warriors I-o-wáy, One of Black Hawk's Principal Warriors George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Sac and Fox 1985_66_120 814 Catlin, George George Catlin 0 311 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes the subject as "full length . . . in a tunic made of the entire skin of a grizzly bear, with a head-dress of war- eagle's quills" (Letters and Notes, vol. 2, p. 27, pl. 144). Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). Plate 33 in Donaldson represents Loose Pipestem, and he appears again in cartoon 19 (NGA 2058), which is based on a watercolor (pl. 46) in the Gilcrease Souvenir album.

Catlin describes the subject as “full length … in a tunic made of the entire skin of a grizzly bear, with a head-dress of war-eagle's quills” (Letters and Notes, vol. 2, p. 27, pl. 144).

Probably painted at Fort Leavenworth in 1832. Plate 33 in Donaldson represents Loose Pipestem, and he appears again in cartoon 19, which is based on a watercolor (pl. 46) in the Gilcrease Souvenir album.

Catlin describes the subject as “full length … in a tunic made of the entire skin of a grizzly bear, with a head-dress of war-eagle's quills” (Letters and Notes, vol. 2, p. 27, pl. 144).

Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). Plate 33 in Donaldson represents Loose Pipestem, and he appears again in cartoon 19 (NGA 2058), which is based on a watercolor (pl. 46) in the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Raw-no-way-woh-krah, Loose Pipestem, a brave Ráw-no-way-wóh-krah, Loose Pipestem, a Brave George Catlin Object Otoe/Jiwere-Nutachi Otoe/Jiwere-Nutachi 1985_66_121 814 Catlin, George George Catlin 0 145 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject is described as having a "beautiful pipe in his hand" (1848 catalogue, p. 17). Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). The subject later sat to Charles Bird King in Washington (see Ewers [19531, p. 471).

The subject is described as having a “beautiful pipe in his hand” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832. The subject later sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

The subject is described as having a “beautiful pipe in his hand” (1848 catalogue, p. 17).

Probably painted at Fort Leavenworth in 1832 (see nos. 117, 99). The subject later sat to Charles Bird King in Washington (see Ewers [1953], p. 471).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wee-ke-ru-law, He Who Exchanges Wée-ke-rú-law, He Who Exchanges He Who Exchanges holds an effigy pipe similar to one obtained by Catlin from a Pawnee. The Pawnee told Catlin that the seated figure "was his own portrait, and that I would be able to see by it that he could sit and look a white man in the face."

He Who Exchanges holds an effigy pipe similar to one obtained by Catlin from a Pawnee. The Pawnee told Catlin that the seated figure "was his own portrait, and that I would be able to see by it that he could sit and look a white man in the face."

George Catlin Object Otoe/Jiwere-Nutachi Otoe/Jiwere-Nutachi 1985_66_122 814 Catlin, George George Catlin 0 238 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject is described as "an old man" with a "necklace of grisly bears' claws, and a handsome carved pipe in his hand" (1848 catalogue, p. 18). Probably painted at Fort Leavenworth in 1832 (see nos. 99, 112, 117). The subject later sat to Charles Bird King in Washington (see Ewers [ 195 3], p. 4 70), and he also appears, full length, in cartoon 22 (NGA 2017).

The subject is described as “an old man” with a “necklace of grisly bears' claws, and a handsome carved pipe in his hand” (1848 catalogue, p. 18).

Probably painted at Fort Leavenworth in 1832. The subject later sat to Charles Bird King in Washington (see Ewers [1953], p. 470), and he also appears, full length, in cartoon 22.

The subject is described as “an old man” with a “necklace of grisly bears' claws, and a handsome carved pipe in his hand” (1848 catalogue, p. 18).

Probably painted at Fort Leavenworth in 1832 (see nos. 99, 112, 117). The subject later sat to Charles Bird King in Washington (see Ewers [1953], p. 470), and he also appears, full length, in cartoon 22 (NGA 2017).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Haw-che-ke-sug-ga, He Who Kills the Osages, chief of the tribe Háw-che-ke-súg-ga, He Who Kills the Osages The name of Kills the Osages is redolent of the history of his tribe as well as his own battle achievements. A century before Catlin's arrival in the West, the Missouria controlled the fur trade on the river that bears their name; their dominance, however, was under constant assault from the Osages, who eventually won. By the time Catlin met this elderly war chief, the Missouria, much reduced in power and number, had joined with the Otoes.

The name of Kills the Osages is redolent of the history of his tribe as well as his own battle achievements. A century before Catlin's arrival in the West, the Missouria controlled the fur trade on the river that bears their name; their dominance, however, was under constant assault from the Osages, who eventually won. By the time Catlin met this elderly war chief, the Missouria, much reduced in power and number, had joined with the Otoes.

George Catlin Object Missouria/Jiwere-Nutachi Missouria/Jiwere-Nutachi 1985_66_123 814 Catlin, George George Catlin 0 112 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Bloody Hand is described as having "his face painted with red vermilion, scalping-knife in his hand," and "wearing a beautiful dress" (1848 catalogue, p. 18). Painted at the Arikara village in 1832. The broad modeling and strong features are typical of the Upper Missouri portraits. Bloody Hand also appears, full length, in cartoon 36 (NGA 2036), with his wife (no. 124).

Bloody Hand is described as having “his face painted with red vermilion, scalping-knife in his hand,” and “wearing a beautiful dress” (1848 catalogue, p. 18).

Painted at the Arikara village in 1832. The broad modeling and strong features are typical of the Upper Missouri portraits. Bloody Hand also appears, full length, in cartoon 36, with his wife.

Bloody Hand is described as having “his face painted with red vermilion, scalping-knife in his hand,” and “wearing a beautiful dress” (1848 catalogue, p. 18).

Painted at the Arikara village in 1832. The broad modeling and strong features are typical of the Upper Missouri portraits. Bloody Hand also appears, full length, in cartoon 36 (NGA 2036), with his wife (no. 124).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Stan-au-pat, Bloody Hand, chief of the tribe Stán-au-pat, Bloody Hand, Chief of the Tribe Catlin was fortunate to meet Bloody Hand and his daughter when they were visiting the smaller of the two Mandan towns. Since 1823, when traders from the American Fur Company allied with the Sioux to attack and destroy their village, the Arikara had harbored "hostile and deadly" feelings toward all whites.

Catlin was fortunate to meet Bloody Hand and his daughter when they were visiting the smaller of the two Mandan towns. Since 1823, when traders from the American Fur Company allied with the Sioux to attack and destroy their village, the Arikara had harbored "hostile and deadly" feelings toward all whites.

George Catlin Object Arikara/Sahnish Arikara/Sahnish 1985_66_124 814 Catlin, George George Catlin 0 214 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at the Mandan village in 1832. Note the richly detailed treatment of the trade bead necklaces worn by The Twin. When time permitted and his interest was aroused, Catlin could vary his technique with considerable facility. The Twin also appears, full length, in cartoon 36 (NGA 2036), with her husband (no. 123).

Painted at the Mandan village in 1832. Note the richly detailed treatment of the trade bead necklaces worn by The Twin. When time permitted and his interest was aroused, Catlin could vary his technique with considerable facility.

The Twin also appears, full length, in cartoon 36, with her husband.

Painted at the Mandan village in 1832. Note the richly detailed treatment of the trade bead necklaces worn by The Twin. When time permitted and his interest was aroused, Catlin could vary his technique with considerable facility.

The Twin also appears, full length, in cartoon 36 (NGA 2036), with her husband (no. 123).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kah-beck-a, The Twin, wife of Bloody Hand Kah-béck-a, The Twin, Wife of Bloody Hand George Catlin Object Arikara/Sahnish Arikara/Sahnish 1985_66_125 814 Catlin, George George Catlin 0 103 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. This portrait, according to Catlin, gives "a very pretty specimen of the dress and fashion of the women in this tribe. The inner garment, which is like a slip or frock, is entire in one piece, and beautifully ornamented with embroidery and beads, with a row of elks' teeth passing across the breast, and a robe of the young buffalo's skin, tastefully and elaborately embroidered, gracefully thrown over her shoulders, and hanging down to the ground behind her" (Letters and Notes, vol. 1, p. 204, pl. 84). Painted at the Arikara village in 1832. The Smithsonian and Gilcrease portraits are identical, except for two earth lodges in the background of the former that are also included in plate 84 of Letters and Notes. The Gilcrease oils were done by Catlin for Sir Thomas Phillips in the late 1840s and early 1850s, and they are clearly acknowledged as later versions of his original paintings. Sweet-scented Grass appears again in cartoon 37 (NGA 2048, see no. 126).

This portrait, according to Catlin, gives “a very pretty specimen of the dress and fashion of the women in this tribe. The inner garment, which is like a slip or frock, is entire in one piece, and beautifully ornamented with embroidery and beads, with a row of elks' teeth passing across the breast, and a robe of the young buffalo's skin, tastefully and elaborately embroidered, gracefully thrown over her shoulders, and hanging down to the ground behind her” (Letters and Notes, vol. 1, p. 204, pl. 84).

Painted at the Arikara village in 1832. The Smithsonian and Gilcrease portraits are identical, except for two earth lodges in the background of the former that are also included in plate 84 of Letters and Notes. The Gilcrease oils were done by Catlin for Sir Thomas Phillips in the late 1840s and early 1850s, and they are clearly acknowledged as later versions of his original paintings. Sweet-scented Grass appears again in cartoon 37.

This portrait, according to Catlin, gives “a very pretty specimen of the dress and fashion of the women in this tribe. The inner garment, which is like a slip or frock, is entire in one piece, and beautifully ornamented with embroidery and beads, with a row of elks' teeth passing across the breast, and a robe of the young buffalo's skin, tastefully and elaborately embroidered, gracefully thrown over her shoulders, and hanging down to the ground behind her” (Letters and Notes, vol. 1, p. 204, pl. 84).

Painted at the Arikara village in 1832. The Smithsonian and Gilcrease portraits are identical, except for two earth lodges in the background of the former that are also included in plate 84 of Letters and Notes. The Gilcrease oils were done by Catlin for Sir Thomas Phillips in the late 1840s and early 1850s, and they are clearly acknowledged as later versions of his original paintings. Sweet-scented Grass appears again in cartoon 37 (NGA 2048, see no. 126).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pshan-shaw, Sweet-scented Grass, twelve-year-old daughter of Bloody Hand Pshán-shaw, Sweet-scented Grass, Twelve-year-old Daughter of Bloody Hand Catlin painted fewer women than men, a fact explained by their relatively subsidiary place in Indian society. As the young daughter of an Arikara chief, however, Sweet-scented Grass possessed status in the tribe and the means to dress in "a robe of the young buffalo's skin, tastefully and elaborately embroidered" in northern Plains style.

Catlin painted fewer women than men, a fact explained by their relatively subsidiary place in Indian society. As the young daughter of an Arikara chief, however, Sweet-scented Grass possessed status in the tribe and the means to dress in "a robe of the young buffalo's skin, tastefully and elaborately embroidered" in northern Plains style.

17 George Catlin Object Arikara/Sahnish Arikara/Sahnish 1985_66_127 814 Catlin, George George Catlin 0 120 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. This man is head-chief of the nation, and familiarly known by the name of 'Chef de Loup/ as the French Traders call him; a haughty, austere, and overbearing man, respected and feared by his people rather than loved. The tenure by which this man holds his off ice, is that by which head-chief s of most of the tribes claim, that of inheritance. . . . The dress of the chief was one of great extravagance, and some beauty; manufactured of skins, and a great number of quills of the raven, forming his stylish head-dress. (Letters and Notes, vol. 1, p. 92, pl. 49). Painted at the Mandan village in 1832. The Smithsonian portrait and plate 49 in Letters and Notes have in the background a Missouri River landscape, but two Mandan earth lodges are behind Wolf Chief in the Field Museum version (see no. 3). The subject appears again in cartoon 33 (NGA 2033), with his wife and child. The cartoon is based on a watercolor (pl. 4) in the Gilcrease Souvenir album.

“This man is head-chief of the nation, and familiarly known by the name of ‘Chef de Loup’ as the French Traders call him; a haughty, austere, and overbearing man, respected and feared by his people rather than loved. The tenure by which this man holds his off ice, is that by which head-chief s of most of the tribes claim, that of inheritance. … The dress of the chief was one of great extravagance, and some beauty; manufactured of skins, and a great number of quills of the raven, forming his stylish head-dress”. (Letters and Notes, vol. 1, p. 92, pl. 49).

Painted at the Mandan village in 1832. The Smithsonian portrait and plate 49 in Letters and Notes have in the background a Missouri River landscape, but two Mandan earth lodges are behind Wolf Chief in the Field Museum version.

The subject appears again in cartoon 33, with his wife and child. The cartoon is based on a watercolor (pl. 4) in the Gilcrease Souvenir album.

“This man is head-chief of the nation, and familiarly known by the name of ‘Chef de Loup’ as the French Traders call him; a haughty, austere, and overbearing man, respected and feared by his people rather than loved. The tenure by which this man holds his off ice, is that by which head-chief s of most of the tribes claim, that of inheritance. … The dress of the chief was one of great extravagance, and some beauty; manufactured of skins, and a great number of quills of the raven, forming his stylish head-dress”. (Letters and Notes, vol. 1, p. 92, pl. 49).

Painted at the Mandan village in 1832. The Smithsonian portrait and plate 49 in Letters and Notes have in the background a Missouri River landscape, but two Mandan earth lodges are behind Wolf Chief in the Field Museum version (see no. 3).

The subject appears again in cartoon 33 (NGA 2033), with his wife and child. The cartoon is based on a watercolor (pl. 4) in the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ha-na-ta-nu-mauk, Wolf Chief, head chief of the tribe Ha-na-tá-nu-maúk, Wolf Chief, Head Chief of the Tribe Catlin viewed Mandan society as a meritocracy, a belief supported by the community's attitude toward Wolf Chief, the hereditary leader of the tribe. Catlin complained that Wolf Chief was "haughty, austere, and overbearing . . . respected and feared by his people rather than loved."

Catlin viewed Mandan society as a meritocracy, a belief supported by the community's attitude toward Wolf Chief, the hereditary leader of the tribe. Catlin complained that Wolf Chief was "haughty, austere, and overbearing…respected and feared by his people rather than loved."

George Catlin Object Mandan/Numakiki Mandan/Numakiki 1985_66_128 814 Catlin, George George Catlin 0 98 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. This extraordinary man, though second in office is undoubtedly the first and most popular man in the nation. Free, generous, elegant and gentlemanly in his deportment -handsome, brave and valiant; wearing a robe on his back, with the history of his battles emblazoned on it; which would fill a book of themselves, if properly translated. This, readers, is the most extraordinary man, perhaps, who lives at this day, in the atmosphere of Nature's noblemen. . . . The dress of Mah-to-toh-pa . . . the greater part of which I have represented in his full-length portrait, and which I shall now describe, was purchased of him after I had painted his picture; and every article of it can be seen in my Indian Gallery by the side of the portrait, provided I succeed in getting them home to the civilized world without injury. Mah-to-toh-pa had agreed to stand before me for his portrait at an early hour of the next morning, and on that day I sat with my palette of colours prepared, and waited till twelve o'clock, before he could leave his toilette with feelings of satisfaction as to the propriety of his looks and the arrangement of his equipments; and at that time it was announced, that 'Mah-to-toh-pa was coming in full dress!' I looked out of the door of the wigwam, and saw him approaching with a firm and elastic step, accompanied by a great crowd of women and children, who were gazing on him with admiration, and escorting him to my room. No tragedian ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity than did Mah-to-toh-pa enter the wigwam, where I was in readiness to receive him. He took his attitude before me, and with the sternness of a Brutus and the stillness of a statue, he stood until the darkness of night broke upon the solitary stillness. His dress, which was a very splendid one, was complete in all its parts, and consisted of a shirt or tunic, leggings, moccasins, head-dress, necklace, shield, bow and quiver, lance, tobacco-sack, and pipe; robe, belt, and knife; medicine-bag, tomahawk, and war-club, or po-ko-mo-kon. "The shirt, of which I have spoken, was made of two skins of the mountain-sheep, beautifully dressed, and sewed together by seams which rested upon the arms; one skin hanging in front, upon the breast, and the other falling down upon the back; the head being passed between them, and they falling over and resting on the shoulders. Across each shoulder, and somewhat in the form of an epaulette, was a beautiful band; and down each arm from the neck to the hand was a similar one, of two inches in width (and crossing the other at right angles on the shoulder) beautifully embroidered with porcupine quills worked on the dress, and covering the seams. To the lower edge of these bands the whole way, at intervals of half an inch, were attached long locks of black hair, which he had taken with his own hand from the heads of his enemies whom he had slain in battle, and which he thus wore as a trophy, and also as an ornament to his dress. The front and back of the shirt were curiously garnished in several parts with porcupine quills and paintings of the battles he had fought, and also with representations of the victims that had fallen by his hand. The bottom of the dress was bound or hemmed with ermine skins, and tassels of ermines' tails were suspended from the arms and the shoulders. "The Leggings, which were made of deer skins, beautifully dressed, and fitting tight to the leg, extended from the feet to the hips, and were fastened to a belt which was passed around the waist. These, like the shirt, had a similar band, worked with porcupine quills of richest dyes, passing down the seam on the outer part of the leg, and fringed also the whole length of the leg, with the scalp-locks taken from his enemies' heads. . "The Head-dress, which was superb and truly cent, consisted of a crest of war-eagles" gracefully falling back from the forehead e back part of the head, and extending quite down to his feet; set the whole way in a profusion of ermine, and surmounted on the top of the head, with the horns of the buffalo, shaved thin and highly polished.. . . "Such was the dress of Mah-to-toh-pa when he entered my wigwam to stand for his picture; but such I have not entirely represented it in his portrait; having rejected such trappings and ornaments as interfered with the grace and simplicity Of the figure. He was beautifully and extravagantly dressed; and in this he was not alone, for hundreds of others are equally elegant. In plumes, and arms, and ornaments, he is not singular; but in laurels and wreaths he stands unparalleled. His breast has been bared and scarred in defence of his country, and his brows crowned with honours that elevate him conspicuous above all of his nation. There is no man amongst the Mandans so generally loved, nor any one who wears a robe so justly famed and honourable as that of Mah-to-toh-pa" (Letters and Notes, vol. 1, pp. 92, 114-17, 145-54, pl. 64). Painted at the Mandan village in 1832. Four Bears (M‡h-to-t—h-pa) was the most publicized Indian of the Upper Missouri in the 1830s, and the subject among all of Catlin's portraits whom the artist most favored. The two communicated often and at length during Catlin's stay at Mandan village, and the full-length portrait of Four Bears is one of the finest, and certainly the most widely known, in the collection. Calm, dignified, splendidly costumed (and stripped of certain encumbering "ornaments and trappings"), the chief is presented by Catlin with all the pomp of an imperial portrait, and Ewers (1968) points out how that image of Four Bears became over the years a symbol of the North American Indian. Ewers (1956) also comments on the accuracy of the portrait by comparing the features to those of Four Bears' son, and the costume details to the original costume, which is in the Smithsonian anthropology collections. The deliberate brushwork and Karl Bodmer's wellknown portraits of Four Bears (see Reuben Gold Thwaites, ed., Early Western Travels 1748-1846, pls. 46, 47) are a further guarantee that Catlin's likeness is generally correct. The Gilcrease watercolor incorporates most of the detail of the original (see no. 107), and the half-length portrait of Four Bears in the Smithsonian (no. 13 1) is a less imposing, but more sympathetic and descriptive record of his features. Catlin also lists a painting of the subject among those commissioned by Louis Philippe (see Travels in Europe). Four Bears appears again, full length, in plate 28 of the North American Indian Portfolio, first published in 1844, and in several cartoons that Catlin reproduced with some frequency. The most popular are those in which the chief poses with his family (cartoon 30, NGA 2030), and before the astonished members of his tribe as the artist paints his portrait (cartoon 191, NGA 2142). A superior version of the former is in the Museum fŸr Všlkerkunde, Berlin, and the cartoon itself is based on a watercolor (pl. 2) in the Gilcrease Souvenir album. Another cartoon (133, NGA 2038), which was taken from plate 62 in Letters and Notes, shows Catlin feasting in Four Bears' lodge, and a fourth (cartoon 194, NGA 2044) illustrates the buffalo robe upon which the chief, who was also an artist, depicted his triumphs in battle.

“This extraordinary man, though second in office is undoubtedly the first and most popular man in the nation. Free, generous, elegant and gentlemanly in his deportment—handsome, brave and valiant; wearing a robe on his back, with the history of his battles emblazoned on it; which would fill a book of themselves, if properly translated. This, readers, is the most extraordinary man, perhaps, who lives at this day, in the atmosphere of Nature's noblemen.…

“The dress of Mah-to-toh-pa … the greater part of which I have represented in his full-length portrait, and which I shall now describe, was purchased of him after I had painted his picture; and every article of it can be seen in my Indian Gallery by the side of the portrait, provided I succeed in getting them home to the civilized world without injury.

Mah-to-toh-pa had agreed to stand before me for his portrait at an early hour of the next morning, and on that day I sat with my palette of colours prepared, and waited till twelve o'clock, before he could leave his toilette with feelings of satisfaction as to the propriety of his looks and the arrangement of his equipments; and at that time it was announced, that ‘Mah-to-toh-pa was coming in full dress!’ I looked out of the door of the wigwam, and saw him approaching with a firm and elastic step, accompanied by a great crowd of women and children, who were gazing on him with admiration, and escorting him to my room. No tragedian ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity than did Mah-to-toh-pa enter the wigwam, where I was in readiness to receive him. He took his attitude before me, and with the sternness of a Brutus and the stillness of a statue, he stood until the darkness of night broke upon the solitary stillness. His dress, which was a very splendid one, was complete in all its parts, and consisted of a shirt or tunic, leggings, moccasins, head-dress, necklace, shield, bow and quiver, lance, tobacco-sack, and pipe; robe, belt, and knife; medicine-bag, tomahawk, and war-club, or po-ko-mo-kon.

“The shirt, of which I have spoken, was made of two skins of the mountain-sheep, beautifully dressed, and sewed together by seams which rested upon the arms; one skin hanging in front, upon the breast, and the other falling down upon the back; the head being passed between them, and they falling over and resting on the shoulders. Across each shoulder, and somewhat in the form of an epaulette, was a beautiful band; and down each arm from the neck to the hand was a similar one, of two inches in width (and crossing the other at right angles on the shoulder) beautifully embroidered with porcupine quills worked on the dress, and covering the seams. To the lower edge of these bands the whole way, at intervals of half an inch, were attached long locks of black hair, which he had taken with his own hand from the heads of his enemies whom he had slain in battle, and which he thus wore as a trophy, and also as an ornament to his dress. The front and back of the shirt were curiously garnished in several parts with porcupine quills and paintings of the battles he had fought, and also with representations of the victims that had fallen by his hand. The bottom of the dress was bound or hemmed with ermine skins, and tassels of ermines' tails were suspended from the arms and the shoulders.

“The Leggings, which were made of deer skins, beautifully dressed, and fitting tight to the leg, extended from the feet to the hips, and were fastened to a belt which was passed around the waist. These, like the shirt, had a similar band, worked with porcupine quills of richest dyes, passing down the seam on the outer part of the leg, and fringed also the whole length of the leg, with the scalp-locks taken from his enemies' heads.…

“The Head-dress, which was superb and truly cent, consisted of a crest of war-eagles” gracefully falling back from the forehead e back part of the head, and extending quite down to his feet; set the whole way in a profusion of ermine, and surmounted on the top of the head, with the horns of the buffalo, shaved thin and highly polished.…

“Such was the dress of Mah-to-toh-pa when he entered my wigwam to stand for his picture; but such I have not entirely represented it in his portrait; having rejected such trappings and ornaments as interfered with the grace and simplicity Of the figure. He was beautifully and extravagantly dressed; and in this he was not alone, for hundreds of others are equally elegant. In plumes, and arms, and ornaments, he is not singular; but in laurels and wreaths he stands unparalleled. His breast has been bared and scarred in defence of his country, and his brows crowned with honours that elevate him conspicuous above all of his nation. There is no man amongst the Mandans so generally loved, nor any one who wears a robe so justly famed and honourable as that of Mah-to-toh-pa” (Letters and Notes, vol. 1, pp. 92, 110–17, 140–54, pl. 64).

Painted at the Mandan village in 1832. Four Bears (Máh-to-tóh-pa) was the most publicized Indian of the Upper Missouri in the 1830s, and the subject among all of Catlin's portraits whom the artist most favored. The two communicated often and at length during Catlin's stay at Mandan village, and the full-length portrait of Four Bears is one of the finest, and certainly the most widely known, in the collection. Calm, dignified, splendidly costumed (and stripped of certain encumbering “ornaments and trappings”), the chief is presented by Catlin with all the pomp of an imperial portrait, and Ewers (1968) points out how that image of Four Bears became over the years a symbol of the North American Indian. Ewers (1956) also comments on the accuracy of the portrait by comparing the features to those of Four Bears' son, and the costume details to the original costume, which is in the Smithsonian anthropology collections. The deliberate brushwork and Karl Bodmer's wellknown portraits of Four Bears (see Reuben Gold Thwaites, ed., Early Western Travels 1740–1846, pls. 46, 47) are a further guarantee that Catlin's likeness is generally correct.

The Gilcrease watercolor incorporates most of the detail of the original, and the half-length portrait of Four Bears in the Smithsonian is a less imposing, but more sympathetic and descriptive record of his features. Catlin also lists a painting of the subject among those commissioned by Louis Philippe (see Travels in Europe). Four Bears appears again, full length, in plate 28 of the North American Indian Portfolio, first published in 1844, and in several cartoons that Catlin reproduced with some frequency. The most popular are those in which the chief poses with his family (cartoon 30), and before the astonished members of his tribe as the artist paints his portrait (cartoon 191). A superior version of the former is in the Museum für Völkerkunde, Berlin, and the cartoon itself is based on a watercolor (pl. 2) in the Gilcrease Souvenir album. Another cartoon (133), which was taken from plate 62 in Letters and Notes, shows Catlin feasting in Four Bears' lodge, and a fourth (cartoon 194) illustrates the buffalo robe upon which the chief, who was also an artist, depicted his triumphs in battle.

“This extraordinary man, though second in office is undoubtedly the first and most popular man in the nation. Free, generous, elegant and gentlemanly in his deportment—handsome, brave and valiant; wearing a robe on his back, with the history of his battles emblazoned on it; which would fill a book of themselves, if properly translated. This, readers, is the most extraordinary man, perhaps, who lives at this day, in the atmosphere of Nature's noblemen.…

“The dress of Mah-to-toh-pa … the greater part of which I have represented in his full-length portrait, and which I shall now describe, was purchased of him after I had painted his picture; and every article of it can be seen in my Indian Gallery by the side of the portrait, provided I succeed in getting them home to the civilized world without injury.

Mah-to-toh-pa had agreed to stand before me for his portrait at an early hour of the next morning, and on that day I sat with my palette of colours prepared, and waited till twelve o'clock, before he could leave his toilette with feelings of satisfaction as to the propriety of his looks and the arrangement of his equipments; and at that time it was announced, that ‘Mah-to-toh-pa was coming in full dress!’ I looked out of the door of the wigwam, and saw him approaching with a firm and elastic step, accompanied by a great crowd of women and children, who were gazing on him with admiration, and escorting him to my room. No tragedian ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity than did Mah-to-toh-pa enter the wigwam, where I was in readiness to receive him. He took his attitude before me, and with the sternness of a Brutus and the stillness of a statue, he stood until the darkness of night broke upon the solitary stillness. His dress, which was a very splendid one, was complete in all its parts, and consisted of a shirt or tunic, leggings, moccasins, head-dress, necklace, shield, bow and quiver, lance, tobacco-sack, and pipe; robe, belt, and knife; medicine-bag, tomahawk, and war-club, or po-ko-mo-kon.

“The shirt, of which I have spoken, was made of two skins of the mountain-sheep, beautifully dressed, and sewed together by seams which rested upon the arms; one skin hanging in front, upon the breast, and the other falling down upon the back; the head being passed between them, and they falling over and resting on the shoulders. Across each shoulder, and somewhat in the form of an epaulette, was a beautiful band; and down each arm from the neck to the hand was a similar one, of two inches in width (and crossing the other at right angles on the shoulder) beautifully embroidered with porcupine quills worked on the dress, and covering the seams. To the lower edge of these bands the whole way, at intervals of half an inch, were attached long locks of black hair, which he had taken with his own hand from the heads of his enemies whom he had slain in battle, and which he thus wore as a trophy, and also as an ornament to his dress. The front and back of the shirt were curiously garnished in several parts with porcupine quills and paintings of the battles he had fought, and also with representations of the victims that had fallen by his hand. The bottom of the dress was bound or hemmed with ermine skins, and tassels of ermines' tails were suspended from the arms and the shoulders.

“The Leggings, which were made of deer skins, beautifully dressed, and fitting tight to the leg, extended from the feet to the hips, and were fastened to a belt which was passed around the waist. These, like the shirt, had a similar band, worked with porcupine quills of richest dyes, passing down the seam on the outer part of the leg, and fringed also the whole length of the leg, with the scalp-locks taken from his enemies' heads.…

“The Head-dress, which was superb and truly cent, consisted of a crest of war-eagles” gracefully falling back from the forehead e back part of the head, and extending quite down to his feet; set the whole way in a profusion of ermine, and surmounted on the top of the head, with the horns of the buffalo, shaved thin and highly polished.…

“Such was the dress of Mah-to-toh-pa when he entered my wigwam to stand for his picture; but such I have not entirely represented it in his portrait; having rejected such trappings and ornaments as interfered with the grace and simplicity Of the figure. He was beautifully and extravagantly dressed; and in this he was not alone, for hundreds of others are equally elegant. In plumes, and arms, and ornaments, he is not singular; but in laurels and wreaths he stands unparalleled. His breast has been bared and scarred in defence of his country, and his brows crowned with honours that elevate him conspicuous above all of his nation. There is no man amongst the Mandans so generally loved, nor any one who wears a robe so justly famed and honourable as that of Mah-to-toh-pa” (Letters and Notes, vol. 1, pp. 92, 110–17, 140–54, pl. 64).

Painted at the Mandan village in 1832. Four Bears (Máh-to-tóh-pa) was the most publicized Indian of the Upper Missouri in the 1830s, and the subject among all of Catlin's portraits whom the artist most favored. The two communicated often and at length during Catlin's stay at Mandan village, and the full-length portrait of Four Bears is one of the finest, and certainly the most widely known, in the collection. Calm, dignified, splendidly costumed (and stripped of certain encumbering “ornaments and trappings”), the chief is presented by Catlin with all the pomp of an imperial portrait, and Ewers (1968) points out how that image of Four Bears became over the years a symbol of the North American Indian. Ewers (1956) also comments on the accuracy of the portrait by comparing the features to those of Four Bears' son, and the costume details to the original costume, which is in the Smithsonian anthropology collections. The deliberate brushwork and Karl Bodmer's wellknown portraits of Four Bears (see Reuben Gold Thwaites, ed., Early Western Travels 1740–1846, pls. 46, 47) are a further guarantee that Catlin's likeness is generally correct.

The Gilcrease watercolor incorporates most of the detail of the original (see no. 107), and the half-length portrait of Four Bears in the Smithsonian (no. 131) is a less imposing, but more sympathetic and descriptive record of his features. Catlin also lists a painting of the subject among those commissioned by Louis Philippe (see Travels in Europe). Four Bears appears again, full length, in plate 28 of the North American Indian Portfolio, first published in 1844, and in several cartoons that Catlin reproduced with some frequency. The most popular are those in which the chief poses with his family (cartoon 30, NGA 2030), and before the astonished members of his tribe as the artist paints his portrait (cartoon 191, NGA 2142). A superior version of the former is in the Museum für Völkerkunde, Berlin, and the cartoon itself is based on a watercolor (pl. 2) in the Gilcrease Souvenir album. Another cartoon (133, NGA 2038), which was taken from plate 62 in Letters and Notes, shows Catlin feasting in Four Bears' lodge, and a fourth (cartoon 194, NGA 2044) illustrates the buffalo robe upon which the chief, who was also an artist, depicted his triumphs in battle.

painting painting I love Catlin's paintings. They connect us to our history, to our ancestors. They give us an opportunity to step back to a moment in time. They also serve to document change and continuity in both male and female visage. When I first saw Catlin paintings in a book I was overwhelmed with emotion. Alyce Spotted Bear, Mandan/Numakiki and Hidatsa/Minitari Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mah-to-toh-pa, Four Bears, second chief, in full dress Máh-to-tóh-pa, Four Bears, Second Chief, in Full Dress No tragedian, Catlin wrote, "ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity" than did Four Bears as he arrived for his sitting. He wore embroidered deerskin leggings and a shirt decorated with pictographic accounts of his war feats. His headdress of eagle feathers and ermine was crowned with buffalo horns, which convey his "exceeding valour, worth, and power." Catlin rewarded him with a splendid likeness that is one of the most influential American portraits ever painted.

"No tragedian," Catlin wrote, "ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity" than did Four Bears as he arrived for his sitting. He wore embroidered deerskin leggings and a shirt decorated with pictographic accounts of his war feats. His headdress of eagle feathers and ermine was crowned with buffalo horns, which convey his "exceeding valour, worth, and power." Catlin rewarded him with a splendid likeness that is one of the most influential American portraits ever painted.

15 George Catlin Object Mandan/Numakiki Mandan/Numakiki 1985_66_129 814 Catlin, George George Catlin 0 121 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. At twelve o'clock, "having used the whole of the fore-part of the day at his toilette," Old Bear arrived at Catlin's lodge "bedaubed and streaked with paints of various colours, with bear's grease and charcoal, with medicine-pipes in his hands and foxes tails attached to his heels . . . [and] with a train of his own profession, who seated themselves around him. . . . He took his position in the middle of the room, waving his eagle calumets in each hand, and singing his medicinesong . . . looking me full in the face until I completed his picture, which I painted at full length" Letters and Notes, vol. 1, pp. 92, 110-11, 155, 161, pl. 5 5). Painted at the Mandan village in 1832. Old Bear, flanked by two arcs of feathers, is one, of Catlin's most successfully designed full-length figures. The subject also appears in cartoon 184 (NGA 2043), practicing his medicine before a "crying and howling" crowd, and in plate 30 of the Gilcrease Souvenir album.

At twelve o'clock, “having used the whole of the fore-part of the day at his toilette,” Old Bear arrived at Catlin's lodge “bedaubed and streaked with paints of various colours, with bear's grease and charcoal, with medicine-pipes in his hands and foxes tails attached to his heels … [and] with a train of his own profession, who seated themselves around him. … He took his position in the middle of the room, waving his eagle calumets in each hand, and singing his medicinesong … looking me full in the face until I completed his picture, which I painted at full length” Letters and Notes, vol. 1, pp. 92, 110–11, 155, 161, pl. 55).

Painted at the Mandan village in 1832. Old Bear, flanked by two arcs of feathers, is one, of Catlin's most successfully designed full-length figures.

The subject also appears in cartoon 184, practicing his medicine before a “crying and howling” crowd, and in plate 30 of the Gilcrease Souvenir album.

At twelve o'clock, “having used the whole of the fore-part of the day at his toilette,” Old Bear arrived at Catlin's lodge “bedaubed and streaked with paints of various colours, with bear's grease and charcoal, with medicine-pipes in his hands and foxes tails attached to his heels … [and] with a train of his own profession, who seated themselves around him. … He took his position in the middle of the room, waving his eagle calumets in each hand, and singing his medicinesong … looking me full in the face until I completed his picture, which I painted at full length” Letters and Notes, vol. 1, pp. 92, 110–11, 155, 161, pl. 55).

Painted at the Mandan village in 1832. Old Bear, flanked by two arcs of feathers, is one, of Catlin's most successfully designed full-length figures.

The subject also appears in cartoon 184 (NGA 2043), practicing his medicine before a “crying and howling” crowd, and in plate 30 of the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mah-to-he-ha, Old Bear, a medicine man Mah-tó-he-ha, Old Bear, a Medicine Man Though his ability to conjure likenesses earned Catlin the title "medicine white man" from the Mandan, the artist could not hope to dress the part with the richness and style of Old Bear. Old Bear arrived at Catlin's studio adorned with bear grease, paint, and charcoal and sporting the skins of various small creatures, as well as "foxes tails attached to his heels."

Though his ability to conjure likenesses earned Catlin the title "medicine white man" from the Mandan, the artist could not hope to dress the part with the richness and style of Old Bear. Old Bear arrived at Catlin's studio adorned with bear grease, paint, and charcoal and sporting the skins of various small creatures, as well as "foxes tails attached to his heels."

George Catlin Object Mandan/Numakiki Mandan/Numakiki 1985_66_13 814 Catlin, George George Catlin 0 194 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Donaldson quotes the following description of the subject: "Fast-Swimming Fish is a short, thick-set, good-natured old brave, who bears his misfortunes with a philosophy worthy of the ancients" (Samuel G. Drake, Book of the Indians of North America, part 4 [Boston, 1832], p. 164). Painted at Jefferson Barracks in October 1832 (see no. 2). The Swimmer wears no necklaces or bracelet in the Field Museum portrait (see no. 3). He appears again, full length, in cartoon 14 (NGA 2053), with other prisoners from Jefferson Barracks, and by himself in cartoon 121 (unlocated), which may be an oil-on-canvas version of the original portrait.

Donaldson quotes the following description of the subject: “Fast-Swimming Fish is a short, thick-set, good-natured old brave, who bears his misfortunes with a philosophy worthy of the ancients” (Samuel G. Drake, Book of the Indians of North America, part 4 [Boston, 1832], p. 164).

Painted at Jefferson Barracks in October 1832. The Swimmer wears no necklaces or bracelet in the Field Museum portrait. He appears again, full length, in cartoon 14, with other prisoners from Jefferson Barracks, and by himself in cartoon 121, which may be an oil-on-canvas version of the original portrait.

Donaldson quotes the following description of the subject: “Fast-Swimming Fish is a short, thick-set, good-natured old brave, who bears his misfortunes with a philosophy worthy of the ancients” (Samuel G. Drake, Book of the Indians of North America, part 4 [Boston, 1832], p. 164).

Painted at Jefferson Barracks in October 1832 (see no. 2). The Swimmer wears no necklaces or bracelet in the Field Museum portrait (see no. 3). He appears again, full length, in cartoon 14 (NGA 2053), with other prisoners from Jefferson Barracks, and by himself in cartoon 121 (unlocated), which may be an oil-on-canvas version of the original portrait.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pam-a-ho, The Swimmer, one of Black Hawk's warriors Pam-a-hó, The Swimmer, One of Black Hawk's Warriors George Catlin Object Sac and Fox Sac and Fox 1985_66_130 814 Catlin, George George Catlin 0 10 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at the Mandan village in 1832. The subject appears again, full length, in cartoon 31 (NGA 203 1), in a different pose and costume (see no. 132).

Painted at the Mandan village in 1832. The subject appears again, full length, in cartoon 31, in a different pose and costume.

Painted at the Mandan village in 1832. The subject appears again, full length, in cartoon 31 (NGA 2031), in a different pose and costume (see no. 132).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mah-tahp-ta-a, Rushes Through the MIddle, a brave Mah-táhp-ta-a, Rushes Through the Middle, a Brave George Catlin Object Mandan/Numakiki 1985_66_131 814 Catlin, George George Catlin 0 110 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as Four Bears "in undress, being in mourning, with a few locks of hair cut off His hair put up in plaits or slabs, with glue and red paint, a custom of the tribe. "The scars on his breast, arms, and legs, show that he has several times in his life submitted to the propitiatory tortures represented in four paintings, nos. 504, 505, 506, 507" (1848 catalogue, p. 19). Painted at the Mandan village in 1832. The Mandan portraits, like those of the Sioux, are brushed with strong, even strokes that form solid and distinctive facial characteristics (see no. 69). The Smithsonian and Gilcrease portraits are identical, but the former is clearly the life study (see no. 107). Catlin also painted Four Bears full length (see no. 128).

Described by Catlin as Four Bears “in undress, being in mourning, with a few locks of hair cut off His hair put up in plaits or slabs, with glue and red paint, a custom of the tribe.

“The scars on his breast, arms, and legs, show that he has several times in his life submitted to the propitiatory tortures represented in four paintings, nos. 504, 505, 506, 507” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The Mandan portraits, like those of the Sioux, are brushed with strong, even strokes that form solid and distinctive facial characteristics.

The Smithsonian and Gilcrease portraits are identical, but the former is clearly the life study. Catlin also painted Four Bears full length.

Described by Catlin as Four Bears “in undress, being in mourning, with a few locks of hair cut off His hair put up in plaits or slabs, with glue and red paint, a custom of the tribe.

“The scars on his breast, arms, and legs, show that he has several times in his life submitted to the propitiatory tortures represented in four paintings, nos. 504, 505, 506, 507” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The Mandan portraits, like those of the Sioux, are brushed with strong, even strokes that form solid and distinctive facial characteristics (see no. 69).

The Smithsonian and Gilcrease portraits are identical, but the former is clearly the life study (see no. 107). Catlin also painted Four Bears full length (see no. 128).

painting painting Catlin has given our people a vital impression of one of our chiefs. Four Bears's blood still flows through his relatives. His great-great-grandchild is able to go back to see Four Bears, and see a juxtaposition of the old and the new Mandan. There has been so much change in the way Mandans look. There is still that pride there in being Mandan. You can see the pride that Four Bears has. Alyce Spotted Bear, Mandan/Numakiki and Hidatsa/Minitari Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mah-to-toh-pa, Four Bears, second chief, in mourning Máh-to-tóh-pa, Four Bears, Second Chief in Mourning Four Bears had earned the right to wear his horned headdress and his fabled shirt, but even in "undress" he was a hero of the highest order, straight out of the Roman Republic: "His breast has been bared and scarred in defence of his country, and his brows crowned with honours that elevate him conspicuous above all of his nation." Four Bears also bore scars from his successful completion of the O-kee-pa (see [.504, .505, DAM picture?, .507]).

Four Bears had earned the right to wear his horned headdress and his fabled shirt, but even in "undress" he was a hero of the highest order, straight out of the Roman Republic: "His breast has been bared and scarred in defence of his country, and his brows crowned with honours that elevate him conspicuous above all of his nation." Four Bears also bore scars from his successful completion of the O-kee-pa (see [.504, .505, DAM picture?, .507]).

George Catlin Object Mandan/Numakiki Mandan/Numakiki 1985_66_132 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject posed "with a beautiful pipe in his hand," and his hair was "quite yellow" (1848 catalogue, no. 19). Painted at the Mandan village in 1832 (see no. 131). Ewers (1968) notes the similarity between Catlin's portrait of' Mouse-colored Feather and the watercolor done by Karl Bodmer a year and a half later. The subject also appears, full length, in cartoon 31 (NGA 203 1), in a different pose and costume. The cartoon is based on a watercolor (pl. 6) in the Gilcrease Souvenir album.

The subject posed “with a beautiful pipe in his hand,” and his hair was “quite yellow” (1848 catalogue, no. 19).

Painted at the Mandan village in 1832. Ewers (1968) notes the similarity between Catlin's portrait of' Mouse-colored Feather and the watercolor done by Karl Bodmer a year and a half later.

The subject also appears, full length, in cartoon 31, in a different pose and costume. The cartoon is based on a watercolor (pl. 6) in the Gilcrease Souvenir album.

The subject posed “with a beautiful pipe in his hand,” and his hair was “quite yellow” (1848 catalogue, no. 19).

Painted at the Mandan village in 1832 (see no. 131). Ewers (1968) notes the similarity between Catlin's portrait of' Mouse-colored Feather and the watercolor done by Karl Bodmer a year and a half later.

The subject also appears, full length, in cartoon 31 (NGA 2031), in a different pose and costume. The cartoon is based on a watercolor (pl. 6) in the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Seehk-hee-da, Mouse-colored feather, a noted brave Seehk-hée-da, Mouse-colored feather, a Noted Brave George Catlin Object 1985_66_133 814 Catlin, George George Catlin 0 17 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin notes that Mink posed in a "Mountainsheep skin dress, ornamented with porcupine quills, beads, and elk's teeth" (1848 catalogue, p. 19). Painted at the Mandan village in 1832. The female portraits are much like those of the Sioux (see nos. 131,81). In Life Amongst the Indians, Catlin says he gave the original back to Mink as he was leaving the village. The subject also appears, full length, in cartoon 30 (NGA 2030) as "the favorite wife" of Four Bears (no. 128).

Catlin notes that Mink posed in a “Mountainsheep skin dress, ornamented with porcupine quills, beads, and elk's teeth” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The female portraits are much like those of the Sioux.

In Life Amongst the Indians, Catlin says he gave the original back to Mink as he was leaving the village. The subject also appears, full length, in cartoon 30 as “the favorite wife” of Four Bears.

Catlin notes that Mink posed in a “Mountainsheep skin dress, ornamented with porcupine quills, beads, and elk's teeth” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The female portraits are much like those of the Sioux (see nos. 131,81).

In Life Amongst the Indians, Catlin says he gave the original back to Mink as he was leaving the village. The subject also appears, full length, in cartoon 30 (NGA 2030) as “the favorite wife” of Four Bears (no. 128).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mi-neek-ee-sunk-te-ka, Mink, a beautiful girl Mi-néek-ee-súnk-te-ka, Mink, a Beautiful Girl George Catlin Object Mandan/Numakiki 1985_66_134 814 Catlin, George George Catlin 0 236 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. A very pretty and modest girl, twelve years of age, with grey hair! peculiar to the Mandans . . . about one in twelve, of both sexes and of all ages, have . . . hair of a bright silvery grey, and exceedingly coarse and harsh (1848 catalogue, p. 19). Painted at the Mandan village in 1832. The Smithsonian and Gilcrease portraits are similar to plate 52 in Letters and Notes, but the Field Museum version shows Mint with dark hair and a slightly different variety of necklaces. The hair color in this last portrait does not agree with Catlin's description of Mint in the 1848 catalogue, and the date of the Gilcrease watercolor cannot be taken seriously (see nos. 3, 46, 107). Another portrait of Mandan children with gray hair is illustrated in Quimby (pp. 50-51), but the female figure does not resemble Mint. Catlin's technique has a considerable range in the Smithsonian portrait, from the broad strokes of the flowing gray hair to the delicate touches of highlight on the costume accessories (see nos. 13 1, 133).

“A very pretty and modest girl, twelve years of age, with grey hair! peculiar to the Mandans … about one in twelve, of both sexes and of all ages, have … hair of a bright silvery grey, and exceedingly coarse and harsh” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The Smithsonian and Gilcrease portraits are similar to plate 52 in Letters and Notes, but the Field Museum version shows Mint with dark hair and a slightly different variety of necklaces. The hair color in this last portrait does not agree with Catlin's description of Mint in the 1848 catalogue, and the date of the Gilcrease watercolor cannot be taken seriously. Another portrait of Mandan children with gray hair is illustrated in Quimby (pp. 50–51), but the female figure does not resemble Mint.

Catlin's technique has a considerable range in the Smithsonian portrait, from the broad strokes of the flowing gray hair to the delicate touches of highlight on the costume accessories.

“A very pretty and modest girl, twelve years of age, with grey hair! peculiar to the Mandans … about one in twelve, of both sexes and of all ages, have … hair of a bright silvery grey, and exceedingly coarse and harsh” (1848 catalogue, p. 19).

Painted at the Mandan village in 1832. The Smithsonian and Gilcrease portraits are similar to plate 52 in Letters and Notes, but the Field Museum version shows Mint with dark hair and a slightly different variety of necklaces. The hair color in this last portrait does not agree with Catlin's description of Mint in the 1848 catalogue, and the date of the Gilcrease watercolor cannot be taken seriously (see nos. 3, 46, 107). Another portrait of Mandan children with gray hair is illustrated in Quimby (pp. 50–51), but the female figure does not resemble Mint.

Catlin's technique has a considerable range in the Smithsonian portrait, from the broad strokes of the flowing gray hair to the delicate touches of highlight on the costume accessories (see nos. 131, 133).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Sha-ko-ka, Mint, a pretty girl Sha-kó-ka, Mint, a Pretty Girl George Catlin Object Mandan/Numakiki Mandan/Numakiki 1985_66_143 814 Catlin, George George Catlin 0 218 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The chief . . . was clothed in a handsome dress of deer skins, very neatly garnished with broad bands of porcupine quill- work down the sleeves of his shirt and his leggings, and all the way fringed with scalp-locks. His hair was very profuse, and flowing over his shoulders; and in his hand he held a beautiful Sioux pipe, which had just been presented to him by Mr. M'Kenzie, the Trader. This was one of the finest looking and most dignified men that I have met in the Indian country; and from the account given of him by the Traders a man of honour and strictest integrity (Letters and Notes, vol. 2, p. 2, pl. 115). Painted at Fort Pierre in 1832, as Catlin clearly indicates in Letters and Notes. Donaldson's date is incorrect (see no. 69). The basic modeling for such boldly painted Upper Missouri portraits must have been completed in a remarkably short time (see nos. 78, 100). Wolf on the Hill appears again, full length, in cartoon 48 (NGA 1994), with his wife (no. 144) and another Cheyenne.

“The chief … was clothed in a handsome dress of deer skins, very neatly garnished with broad bands of porcupine quill-work down the sleeves of his shirt and his leggings, and all the way fringed with scalp-locks. His hair was very profuse, and flowing over his shoulders; and in his hand he held a beautiful Sioux pipe, which had just been presented to him by Mr. M'Kenzie, the Trader. This was one of the finest looking and most dignified men that I have met in the Indian country; and from the account given of him by the Traders a man of honour and strictest integrity” (Letters and Notes, vol. 2, p. 2, pl. 115).

Painted at Fort Pierre in 1832, as Catlin clearly indicates in Letters and Notes. Donaldson's date is incorrect. The basic modeling for such boldly painted Upper Missouri portraits must have been completed in a remarkably short time.

Wolf on the Hill appears again, full length, in cartoon 48 , with his wife and another Cheyenne.

“The chief … was clothed in a handsome dress of deer skins, very neatly garnished with broad bands of porcupine quill-work down the sleeves of his shirt and his leggings, and all the way fringed with scalp-locks. His hair was very profuse, and flowing over his shoulders; and in his hand he held a beautiful Sioux pipe, which had just been presented to him by Mr. M'Kenzie, the Trader. This was one of the finest looking and most dignified men that I have met in the Indian country; and from the account given of him by the Traders a man of honour and strictest integrity” (Letters and Notes, vol. 2, p. 2, pl. 115).

Painted at Fort Pierre in 1832, as Catlin clearly indicates in Letters and Notes. Donaldson's date is incorrect (see no. 69). The basic modeling for such boldly painted Upper Missouri portraits must have been completed in a remarkably short time (see nos. 78, 100).

Wolf on the Hill appears again, full length, in cartoon 48 (NGA 1994), with his wife (no. 144) and another Cheyenne.

painting painting I am personally familiar with Cheyenne regalia, and some of the earliest, beautiful Cheyenne regalia I have ever seen is actually in Catlin's painting. It is especially distinctive for me, because it is regalia where quillwork appears rather than beadwork, which came later when quillwork basically died out. Rick West, Southern Cheyenne Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ne-hee-o-ee-woo-tis, Wolf on the Hill, chief of the tribe Né-hee-ó-ee-wóo-tis, Wolf on the Hill, Chief of the Tribe George Catlin Object Cheyenne/Suhtai Cheyenne/Suhtai 1985_66_144 814 Catlin, George George Catlin 0 104 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The woman was comely, and beautifully dressed; her dress of the mountain-sheep skins, tastefully ornamented with quills and beads, and her hair plaited in large braids, that hung down on her breast (Letters and Notes, vol. 2, p. 2, pl. 116). Painted at Fort Pierre in 1832 (see no. 143). judging from Catlin's itinerary that summer, the bead and jewelry detail were probably later additions. The subject also appears, full length, in cartoon 48 (NGA 1994), with her husband.

“The woman was comely, and beautifully dressed; her dress of the mountain-sheep skins, tastefully ornamented with quills and beads, and her hair plaited in large braids, that hung down on her breast” (Letters and Notes, vol. 2, p. 2, pl. 116).

Painted at Fort Pierre in 1832. Judging from Catlin's itinerary that summer, the bead and jewelry detail were probably later additions.

The subject also appears, full length, in cartoon 48, with her husband.

“The woman was comely, and beautifully dressed; her dress of the mountain-sheep skins, tastefully ornamented with quills and beads, and her hair plaited in large braids, that hung down on her breast” (Letters and Notes, vol. 2, p. 2, pl. 116).

Painted at Fort Pierre in 1832 (see no. 143). judging from Catlin's itinerary that summer, the bead and jewelry detail were probably later additions.

The subject also appears, full length, in cartoon 48 (NGA 1994), with her husband.

painting painting This is interesting to me because I must say that I would not necessarily have assumed that this is a Cheyenne. Both the nature of the clothing and cut of the dress, in particular the sleeves of the dress, are not the way that I would certainly recognize women's regalia at this point. The sunburst design was very common for Cheyenne. Rick West, Southern Cheyenne Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tis-se-woona-tis, She Who Bathes Her Knees, wife of the chief Tís-se-wóona-tis, She Who Bathes Her Knees, Wife of the Chief Cheyenne women had long been renowned for their exquisite quillwork when they added colored Venetian trade beads to their repertory in the early nineteenth century. Catlin depicted Bathes Her Knees, a chief's wife, in an elegant dress of mountain-sheep skins embroidered with both quills and beads in the geometric designs favored by the Cheyenne.

Cheyenne women had long been renowned for their exquisite quillwork when they added colored Venetian trade beads to their repertory in the early nineteenth century. Catlin depicted Bathes Her Knees, a chief's wife, in an elegant dress of mountain-sheep skins embroidered with both quills and beads in the geometric designs favored by the Cheyenne.

George Catlin Object Cheyenne/Suhtai Cheyenne/Suhtai 1985_66_145 000814

Catlin abandoned a law career to pursue his interests in art. In the early 1820s he achieved some success as a portrait miniaturist in Philadelphia. His real goal, however, was to depict American Indians and preserve their fast-disappearing culture. In 1830 he met explorer William Clark in Saint Louis and with him visited tribes living near the Mississippi River. In 1832 he traveled up the Missouri River to Fort Union, North Dakota. His portraits of the Mandans, with whom he stayed in 1832 before smallpox reduced the tribe in 1837, are today among his best-known works. By 1834, after crossing the southern plains to paint the Comanche, Catlin had visited more western tribes than had any other artist of his day. In 1841 he published his experiences and research in a two-volume work. His Indian Gallery (including artifacts and live Indian performers as well as nearly six hundred paintings) was exhibited throughout the East Coast and in Europe.

 Joni Louise KinseyArtist's BiographiesWilliam H.TruettnerThe West as America: Reinterpreting Images of the Frontier, 1820–1920Washington, D.C.Smithsonian Institution Press for the National Museum of American Art1991350| 000814

Born 26 July 1796, Wilkes-Barre, Pa. Childhood there and rural New York. Studied at Litchfield (Conn.) Law School, 1817–18. Practiced law, 1818–21. Began painting, primarily miniatures. Philadelphia, 1821–25; exhibited Pennsylvania Academy of the Fine Arts, 1821. By 1826, New York City; decided to travel West to paint and chronicle Indian tribes still on their lands; member of the National Academy of Design, New York. Traveled upstate New York, making landscape lithographs and portraits. 1826, first Indian painting, done near Buffalo. 1828, full-length portrait of New York Governor DeWitt Clinton; married Clara Gregory. Group portrait of the 101 delegates to the Virginia Constitutional Convention, Richmond, 1829–30. Left for St. Louis and West, spring 1830. In subsequent years, returned often to the East, Mid-West, and South. Exhibited his Indian Gallery in Albany and New York City, 1837. Sailed to Charleston, S.C., to paint and interview captured Seminoles, including Osceola, 1838. Pressed U.S. Government to purchase Indian Gallery. Exhibited it in Baltimore, Philadelphia, Boston, and New York, 1838–39; London, 1840. Published Letters and Notes, 1841. Toured England, 1842–43, with mock-Indian dancers; and 1843–45, with Ojibwa and Iowa Indians. 1845, France; exhibited at Louvre; death of his wife. Indians returned home, 1846. Paris, 1846–52. Heavily in debt, jailed in 1852. Joseph Harrison paid his debts in exchange for Indian Gallery. About 1853–60, South America, with trips to North America and Europe. Brussels, 1860–70. Painted a second Indian collection, largely duplicating first. 1870, returned to the U.S. Moved to Washington, D.C.; exhibited and lived in the Smithsonian Building, 1872. Died Jersey City, N.J., 23 December 1872.

George Catlin is popularly thought of as the man who saw a delegation of Indians passing through Philadelphia and determined then and there that the history and customs of such a people…are themes worthy of the lifetime of one man. Although his remarkable western travels were compressed into little more than six of his seventy-six years, they spawned his original Indian Gallery and did indeed determine the subject of his art for the rest of his long life. Exchanging the role of painter-historian for that of promoter-entrepreneur, Catlin also took Indians and artifacts back East and abroad, displaying them along with his paintings. Combined with his vivid written accounts of his adventures, these exhibitions and dance performances made a tremendous impact on most of those who paid admission.

Although the portraits are the most widely known and admired of Catlin's paintings, it is not as portraitist but as artist-naturalist that he is best understood. In Philadelphia, where the young artist established himself, the scientific spirit and interest in natural history had fascinated intellectuals since the late colonial period. The city became a kind of New World outpost of the European Enlightenment in the natural sciences as well as in politics.

This humanistic attitude manifested itself in Catlin as an unlimited curiosity about everything he encountered across thousands of miles of western travel. River Bluffs(1832), painted on the upper Missouri River, was one of two views Catlin says he painted on that spot: I took my easel, and canvas [sic] and brushes, to the top of the bluff …[and] beheld, even to a line, what the reader has before him.…From this enchanting spot there was nothing to arrest the eye from ranging over its waters for the distance of twenty or thirty miles.

The immense herds of buffalo that roamed the prairies and often served as the Indians' primary sustenance were closely recorded by Catlin. He painted herds crossing the Missouri during the running season and often depicted buffalo hunts (those in the snow are especially stunning, with vivid contrasts of white, black, and red). He sometimes painted single animals and did so with a sense of the particular and the essential that rivals his human portraits. His Dying Buffalo, Shot with an Arrow(1832–33) is an icon of animal painting. Like a martyred saint, the beast casts a baleful eye on the viewer, while its great shoulders still express the strength that is draining away. That Catlin felt this anima is clear from his description of another buffalo, which he had shot with a rifle: He stood stiffened up, and swelling with awful vengeance, which was sublime for a picture, but which he could not vent upon me. As the animal slowly died, the artist went to work: [I] drew from my pocket my sketch-book, laid my gun across my lap, and commenced taking his likeness.... I rode around him and sketched him in numerous attitudes, sometimes he would lie down, and I would then sketch him; then throwing my cap at him, and rousing him on his legs, rally a new expression, and sketch him again. The buffalo seemed to Catlin intended for the use and subsistence of the red men, and no foreboding of its eventual extinction shadowed his thoughts.

He was more farsighted in his attitude toward the Indians; indeed, it was his ambition to preserve the likeness of what he perceived as a doomed people. The inevitability of the Indians' fate was, at the time, commonly accepted, with romanticized sadness overshadowed by the ordained conquest of the frontier. Indeed, it was not just an American premise. In his American Notes of 1842, Charles Dickens reported a conversation he had had with a Choctaw chief (also painted by Catlin): When I told him of that chamber in the British Museum wherein are preserved household memorials of a race that ceased to be, thousands of years ago, he was very attentive, and it was not hard to see that he had a reference in his mind to the gradual fading away of his own people.

Nonetheless, Catlin's sharp sense of the insoluble conflict of the races imparts the tinge of irony or tragedy that flavors so much of his work. His wonderful Pigeon's Egg Head (The Light) Going to and Returning from Washington(1837–39) is a case in point. He had first painted this Indian, with eyes fixed like those of a statue, upon me, in 1831 when The Light was en route to Washington as an official guest. On his return to his tribe at Fort Union, 2,000 miles northwest of St. Louis, the following spring, The Light again encountered Catlin, who watched him disembark with a complete suit en militaire,…with a beaver hat and feather, with epaulettes of gold…, with high-heeled boots—with a keg of whisky under his arm, and a blue umbrella in his hand. Thus co-opted, he was not only rejected by his astonished compatriots, but also later killed by one.

Catlin's subsequent invention combining before and after images of The Light is brilliant. In Indian costume he is presented statuesquely, in pure profile. In white-man's garb, his stance is elegant, artificial, and oblique. His ceremonial pipe is replaced by an effete umbrella and a cigarette, and Catlin departed from his verbal description to add a ridiculous fan and replace the keg with two bottles of whiskey protruding from the tail pockets. With the Capitol in the left background and teepees in the right, both figures are out of place.

Despite Catlin's keen appreciation of the incompatibility of the two cultures, he nonetheless took numerous Indians—men, women, and children—with him east and then to England and the Continent. In his desire to make his fortune, he thus exploited Indians in a way that he must have known might be calamitous. Personal tragedies did ensue, and ultimately those Indians who survived left Catlin and his traveling show in Europe.

The artist's expectations that the U.S. Congress would appropriate funds to purchase his Indian Gallery intact was not fulfilled, in spite of the efforts of many friends in and out of Congress. In 1852, faced with enormous debts, Catlin avoided dispersal of the paintings by giving them to an American manufacturer, Joseph Harrison, in exchange for settling his accounts. Although Catlin re-created much of this gallery in the following years, it is the original collection that eventually made its way to the National Museum of American Art. Between 1852 and 1879 it was stored, for the most part, in two of Harrison's Philadelphia boiler factories, where it suffered fire and water damage. In 1878, after Harrison's death, the collection came to the attention of Thomas Donaldson, a federal official, and his friend Spencer F. Baird, secretary of the Smithsonian Institution. That same year, Mrs. Harrison was persuaded to donate the collection to the Smithsonian. This windfall, supplemented by paintings from other sources, comprises the 618 paintings of the Catlin Collection. Unhappily, the artist not only failed to profit from this final transaction, but also did not live to see it. He died 23 December 1872.

 William Kloss. Treasures from the National Museum of American Art. Washington D.C. and London: The National Museum of American Art and Smithsonian Institution Press, 1985.| 814 Catlin, George George Catlin 0 48 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas mounted oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin's wonderfully composed images of these Nez Perce braves were probably painted in St. Louis, when a Native American delegation passed through that city. Catlin had befriended General William Clark, of Lewis and Clark Expedition fame, in St. Louis. In addition to documenting his own extensive expeditions, Catlin sketched and painted Native Americans who visited Clark in his office. The dignified bearing of the young men and the attention to detail in the elaborately beaded tunics and beaded and feathered hair suggest that Catlin was impressed with his subjects. Native Americans, he wrote, were "the finest models in all Nature, unmasked and moving in all their grace and beauty." The unfocussed gaze of these dignified braves rests at a point somewhere outside the canvas. Catlin's faithful effort to document the life of these peoples in the early nineteenth century captures those impressive cultures as they were before their world was shattered.

Catlin's wonderfully composed images of these Nez Perce braves were probably painted in St. Louis, when a Native American delegation passed through that city. Catlin had befriended General William Clark, of Lewis and Clark Expedition fame, in St. Louis. In addition to documenting his own extensive expeditions, Catlin sketched and painted Native Americans who visited Clark in his office. The dignified bearing of the young men and the attention to detail in the elaborately beaded tunics and beaded and feathered hair suggest that Catlin was impressed with his subjects. Native Americans, he wrote, were “the finest models in all Nature, unmasked and moving in all their grace and beauty.”

The unfocussed gaze of these dignified braves rests at a point somewhere outside the canvas. Catlin's faithful effort to document the life of these peoples in the early nineteenth century captures those impressive cultures as they were before their world was shattered.

Catlin's wonderfully composed images of these Nez Perce braves were probably painted in St. Louis, when a Native American delegation passed through that city. Catlin had befriended General William Clark, of Lewis and Clark Expedition fame, in St. Louis. In addition to documenting his own extensive expeditions, Catlin sketched and painted Native Americans who visited Clark in his office. The dignified bearing of the young men and the attention to detail in the elaborately beaded tunics and beaded and feathered hair suggest that Catlin was impressed with his subjects. Native Americans, he wrote, were “the finest models in all Nature, unmasked and moving in all their grace and beauty.”

The unfocussed gaze of these dignified braves rests at a point somewhere outside the canvas. Catlin's faithful effort to document the life of these peoples in the early nineteenth century captures those impressive cultures as they were before their world was shattered.

 painting painting All Catlin objects for traveling shows are subject to change if included in Catlin show.

George Catlin traveled thousands of miles painting portraits of Native Americans and recording details of his journeys in his journal. According to Catlin, “These two men, were in beautiful Sioux dresses…they were part of a delegation that came across the Rocky Mountains to St. Louis…I traveled two thousand miles, companion with these young fellows, towards their own country, and became much pleased with their manners and dispositions.”

George Catlin traveled thousands of miles painting portraits of Native Americans and recording details of his journeys in his journal. According to Catlin, "These two men, were in beautiful Sioux dresses . . . they were part of a delegation that came across the Rocky Mountains to St. Louis . . . I traveled two thousand miles, companion with these young fellows, towards their own country, and became much pleased with their manners and dispositions." Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Hee-oh'ks-te-kin, RabbitÕs Skin Leggings, a Brave Hee-oh'ks-te-kin, Rabbit's Skin Leggings Rabbit's Skin Leggings was among the first of Catlin's masterful portraits of 1832. Handsome, regal in bearing, and dressed in an embroidered buckskin shirt, he was exactly the kind of "noble savage" Catlin sought. However, Rabbit's Skin Leggings was not untouched by contact with whites: he was returning to Oregon country from a fact-finding mission to St. Louis, where he had hoped to learn the secret of Euro-American technological and spiritual power.

Rabbit's Skin Leggings was among the first of Catlin's masterful portraits of 1832. Handsome, regal in bearing, and dressed in an embroidered buckskin shirt, he was exactly the kind of "noble savage" Catlin sought. However, Rabbit's Skin Leggings was not untouched by contact with whites: he was returning to Oregon country from a fact-finding mission to St. Louis, where he had hoped to learn the secret of Euro-American technological and spiritual power.

NMAA George Catlin Object 21-May-00 September, 2002 13-Aug-00 21-Jun-00 5-Nov-00 10-Sep-00 28-Jan-01 2-Dec-00 Smithsonian American Art Museum Delaware Art Museum The Columbus Museum Museum of Arts and Sciences Nez Perce Nez Perce 1985_66_146 000814

Catlin abandoned a law career to pursue his interests in art. In the early 1820s he achieved some success as a portrait miniaturist in Philadelphia. His real goal, however, was to depict American Indians and preserve their fast-disappearing culture. In 1830 he met explorer William Clark in Saint Louis and with him visited tribes living near the Mississippi River. In 1832 he traveled up the Missouri River to Fort Union, North Dakota. His portraits of the Mandans, with whom he stayed in 1832 before smallpox reduced the tribe in 1837, are today among his best-known works. By 1834, after crossing the southern plains to paint the Comanche, Catlin had visited more western tribes than had any other artist of his day. In 1841 he published his experiences and research in a two-volume work. His Indian Gallery (including artifacts and live Indian performers as well as nearly six hundred paintings) was exhibited throughout the East Coast and in Europe.

 Joni Louise KinseyArtist's BiographiesWilliam H.TruettnerThe West as America: Reinterpreting Images of the Frontier, 1820–1920Washington, D.C.Smithsonian Institution Press for the National Museum of American Art1991350| 000814

Born 26 July 1796, Wilkes-Barre, Pa. Childhood there and rural New York. Studied at Litchfield (Conn.) Law School, 1817–18. Practiced law, 1818–21. Began painting, primarily miniatures. Philadelphia, 1821–25; exhibited Pennsylvania Academy of the Fine Arts, 1821. By 1826, New York City; decided to travel West to paint and chronicle Indian tribes still on their lands; member of the National Academy of Design, New York. Traveled upstate New York, making landscape lithographs and portraits. 1826, first Indian painting, done near Buffalo. 1828, full-length portrait of New York Governor DeWitt Clinton; married Clara Gregory. Group portrait of the 101 delegates to the Virginia Constitutional Convention, Richmond, 1829–30. Left for St. Louis and West, spring 1830. In subsequent years, returned often to the East, Mid-West, and South. Exhibited his Indian Gallery in Albany and New York City, 1837. Sailed to Charleston, S.C., to paint and interview captured Seminoles, including Osceola, 1838. Pressed U.S. Government to purchase Indian Gallery. Exhibited it in Baltimore, Philadelphia, Boston, and New York, 1838–39; London, 1840. Published Letters and Notes, 1841. Toured England, 1842–43, with mock-Indian dancers; and 1843–45, with Ojibwa and Iowa Indians. 1845, France; exhibited at Louvre; death of his wife. Indians returned home, 1846. Paris, 1846–52. Heavily in debt, jailed in 1852. Joseph Harrison paid his debts in exchange for Indian Gallery. About 1853–60, South America, with trips to North America and Europe. Brussels, 1860–70. Painted a second Indian collection, largely duplicating first. 1870, returned to the U.S. Moved to Washington, D.C.; exhibited and lived in the Smithsonian Building, 1872. Died Jersey City, N.J., 23 December 1872.

George Catlin is popularly thought of as the man who saw a delegation of Indians passing through Philadelphia and determined then and there that the history and customs of such a people…are themes worthy of the lifetime of one man. Although his remarkable western travels were compressed into little more than six of his seventy-six years, they spawned his original Indian Gallery and did indeed determine the subject of his art for the rest of his long life. Exchanging the role of painter-historian for that of promoter-entrepreneur, Catlin also took Indians and artifacts back East and abroad, displaying them along with his paintings. Combined with his vivid written accounts of his adventures, these exhibitions and dance performances made a tremendous impact on most of those who paid admission.

Although the portraits are the most widely known and admired of Catlin's paintings, it is not as portraitist but as artist-naturalist that he is best understood. In Philadelphia, where the young artist established himself, the scientific spirit and interest in natural history had fascinated intellectuals since the late colonial period. The city became a kind of New World outpost of the European Enlightenment in the natural sciences as well as in politics.

This humanistic attitude manifested itself in Catlin as an unlimited curiosity about everything he encountered across thousands of miles of western travel. River Bluffs(1832), painted on the upper Missouri River, was one of two views Catlin says he painted on that spot: I took my easel, and canvas [sic] and brushes, to the top of the bluff …[and] beheld, even to a line, what the reader has before him.…From this enchanting spot there was nothing to arrest the eye from ranging over its waters for the distance of twenty or thirty miles.

The immense herds of buffalo that roamed the prairies and often served as the Indians' primary sustenance were closely recorded by Catlin. He painted herds crossing the Missouri during the running season and often depicted buffalo hunts (those in the snow are especially stunning, with vivid contrasts of white, black, and red). He sometimes painted single animals and did so with a sense of the particular and the essential that rivals his human portraits. His Dying Buffalo, Shot with an Arrow(1832–33) is an icon of animal painting. Like a martyred saint, the beast casts a baleful eye on the viewer, while its great shoulders still express the strength that is draining away. That Catlin felt this anima is clear from his description of another buffalo, which he had shot with a rifle: He stood stiffened up, and swelling with awful vengeance, which was sublime for a picture, but which he could not vent upon me. As the animal slowly died, the artist went to work: [I] drew from my pocket my sketch-book, laid my gun across my lap, and commenced taking his likeness.... I rode around him and sketched him in numerous attitudes, sometimes he would lie down, and I would then sketch him; then throwing my cap at him, and rousing him on his legs, rally a new expression, and sketch him again. The buffalo seemed to Catlin intended for the use and subsistence of the red men, and no foreboding of its eventual extinction shadowed his thoughts.

He was more farsighted in his attitude toward the Indians; indeed, it was his ambition to preserve the likeness of what he perceived as a doomed people. The inevitability of the Indians' fate was, at the time, commonly accepted, with romanticized sadness overshadowed by the ordained conquest of the frontier. Indeed, it was not just an American premise. In his American Notes of 1842, Charles Dickens reported a conversation he had had with a Choctaw chief (also painted by Catlin): When I told him of that chamber in the British Museum wherein are preserved household memorials of a race that ceased to be, thousands of years ago, he was very attentive, and it was not hard to see that he had a reference in his mind to the gradual fading away of his own people.

Nonetheless, Catlin's sharp sense of the insoluble conflict of the races imparts the tinge of irony or tragedy that flavors so much of his work. His wonderful Pigeon's Egg Head (The Light) Going to and Returning from Washington(1837–39) is a case in point. He had first painted this Indian, with eyes fixed like those of a statue, upon me, in 1831 when The Light was en route to Washington as an official guest. On his return to his tribe at Fort Union, 2,000 miles northwest of St. Louis, the following spring, The Light again encountered Catlin, who watched him disembark with a complete suit en militaire,…with a beaver hat and feather, with epaulettes of gold…, with high-heeled boots—with a keg of whisky under his arm, and a blue umbrella in his hand. Thus co-opted, he was not only rejected by his astonished compatriots, but also later killed by one.

Catlin's subsequent invention combining before and after images of The Light is brilliant. In Indian costume he is presented statuesquely, in pure profile. In white-man's garb, his stance is elegant, artificial, and oblique. His ceremonial pipe is replaced by an effete umbrella and a cigarette, and Catlin departed from his verbal description to add a ridiculous fan and replace the keg with two bottles of whiskey protruding from the tail pockets. With the Capitol in the left background and teepees in the right, both figures are out of place.

Despite Catlin's keen appreciation of the incompatibility of the two cultures, he nonetheless took numerous Indians—men, women, and children—with him east and then to England and the Continent. In his desire to make his fortune, he thus exploited Indians in a way that he must have known might be calamitous. Personal tragedies did ensue, and ultimately those Indians who survived left Catlin and his traveling show in Europe.

The artist's expectations that the U.S. Congress would appropriate funds to purchase his Indian Gallery intact was not fulfilled, in spite of the efforts of many friends in and out of Congress. In 1852, faced with enormous debts, Catlin avoided dispersal of the paintings by giving them to an American manufacturer, Joseph Harrison, in exchange for settling his accounts. Although Catlin re-created much of this gallery in the following years, it is the original collection that eventually made its way to the National Museum of American Art. Between 1852 and 1879 it was stored, for the most part, in two of Harrison's Philadelphia boiler factories, where it suffered fire and water damage. In 1878, after Harrison's death, the collection came to the attention of Thomas Donaldson, a federal official, and his friend Spencer F. Baird, secretary of the Smithsonian Institution. That same year, Mrs. Harrison was persuaded to donate the collection to the Smithsonian. This windfall, supplemented by paintings from other sources, comprises the 618 paintings of the Catlin Collection. Unhappily, the artist not only failed to profit from this final transaction, but also did not live to see it. He died 23 December 1872.

 William Kloss. Treasures from the National Museum of American Art. Washington D.C. and London: The National Museum of American Art and Smithsonian Institution Press, 1985.| 814 Catlin, George George Catlin 0 240 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/26/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. These two men, when I painted them, were in beautiful Sioux dresses . . . [they] were part of a delegation that came across the Rocky Mountains to St. Louis, a few years since . . . I travelled two thousand miles, companion with these . . . young fellows, towards their own country, and became much pleased with their manners and dispositions (Letters and Notes, vol. 2, pp. 108–9, pls. 207, 208). The two portraits were probably painted in St. Louis or aboard the steamboat Yellowstone in 1832. They appear to be closely related to the Sioux series. The Gilcrease watercolor is mistakenly identified as No Horns on His Head (no. 146). Instead, it represents Rabbit's Skin Leggings (no. 145), and closely resembles plate 207 in Letters and Notes and the Smithsonian original. The subjects also appear, full length, in cartoon 92.

“These two men, when I painted them, were in beautiful Sioux dresses … [they] were part of a delegation that came across the Rocky Mountains to St. Louis, a few years since … I travelled two thousand miles, companion with these … young fellows, towards their own country, and became much pleased with their manners and dispositions” (Letters and Notes, vol. 2, pp. 108–9, pls. 207, 208).

The two portraits were probably painted in St. Louis or aboard the steamboat Yellowstone in 1832. They appear to be closely related to the Sioux series.

The Gilcrease watercolor is mistakenly identified as No Horns on His Head . Instead, it represents Rabbit's Skin Leggings, and closely resembles plate 207 in Letters and Notes and the Smithsonian original. The subjects also appear, full length, in cartoon 92.

“These two men, when I painted them, were in beautiful Sioux dresses … [they] were part of a delegation that came across the Rocky Mountains to St. Louis, a few years since … I travelled two thousand miles, companion with these … young fellows, towards their own country, and became much pleased with their manners and dispositions” (Letters and Notes, vol. 2, pp. 108–9, pls. 207, 208).

The two portraits were probably painted in St. Louis or aboard the steamboat Yellowstone in 1832. They appear to be closely related to the Sioux series (see no. 69).

The Gilcrease watercolor is mistakenly identified as No Horns on His Head . Instead, it represents Rabbit's Skin Leggings (no. 145), and closely resembles plate 207 in Letters and Notes and the Smithsonian original (see nos. 62, 107). The subjects also appear, full length, in cartoon 92.

painting painting All Catlin objects for traveling shows are subject to change if included in Catlin show.

George Catlin traveled thousands of miles painting portraits of Native Americans and recording details of his journeys in his journal. According to Catlin, “These two men, were in beautiful Sioux dresses…they were part of a delegation that came across the Rocky Mountains to St. Louis…I traveled two thousand miles, companion with these young fellows, towards their own country, and became much pleased with their manners and dispositions.”

George Catlin traveled thousands of miles painting portraits of Native Americans and recording details of his journeys in his journal. According to Catlin, ÒThese two men, were in beautiful Sioux dresses . . . they were part of a delegation that came across the Rocky Mountains to St. Louis . . . I traveled two thousand miles, companion with these young fellows, towards their own country, and became much pleased with their manners and dispositions.Ó Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). H'co-a-h'co-a-h'cotes-min, No Horns on His Head, a Brave H'co-a-h'co-a-h'cotes-min, No Horns on His Head, a Brave NMAA George Catlin ResourceText San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Nez Perce Nez Perce 1985_66_147 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/7/02 29 x 24 in. 29 x 24 in. 1837-1839? about 1837–39 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Portrait of a Chinook woman, with her child in her arms, her own head flattened, and the infant undergoing the process . . . which is done by placing its back on a board. . . to which it is lashed with thongs, to a position from which it cannot escape, and the back of the head supported by a pillow, made of moss or rabbit skins, with an inclined piece . . . resting on the forehead of the child (Letters and Notes, vol. 2, pp. 110-11, pl. 210). This painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was executed in the interval (see no. 19-21). Donaldson gives no justification for his date of 1832, and Catlin did not visit the Northwest Coast until 1855. The subject appears again in cartoon 90 (NGA 2108).

“Portrait of a Chinook woman, with her child in her arms, her own head flattened, and the infant undergoing the process … which is done by placing its back on a board … to which it is lashed with thongs, to a position from which it cannot escape, and the back of the head supported by a pillow, made of moss or rabbit skins, with an inclined piece … resting on the forehead of the child” (Letters and Notes, vol. 2, pp. 110–11, pl. 210).

This painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was executed in the interval. Donaldson gives no justification for his date of 1832, and Catlin did not visit the Northwest Coast until 1855.

The subject appears again in cartoon 90.

“Portrait of a Chinook woman, with her child in her arms, her own head flattened, and the infant undergoing the process … which is done by placing its back on a board … to which it is lashed with thongs, to a position from which it cannot escape, and the back of the head supported by a pillow, made of moss or rabbit skins, with an inclined piece … resting on the forehead of the child” (Letters and Notes, vol. 2, pp. 110–11, pl. 210).

This painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was executed in the interval (see no. 10–21). Donaldson gives no justification for his date of 1832, and Catlin did not visit the Northwest Coast until 1855.

The subject appears again in cartoon 90 (NGA 2108).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Woman and Child, showing how the heads of children are flattened Woman and Child, Showing How the Heads of Children are Flattened George Catlin Object 1985_66_148 814 Catlin, George George Catlin 0 219 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1837-1839 1837–39 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as a "Chinook boy, of fifteen or eighteen years of age" whose head had never been flattened (Letters and Notes, vol. 2, p. 110, pl. 209). See number 147 for explanation of the date. The feather headdress has been omitted and the subject is wrapped in a blanket in both the Gilcrease portrait and plate 209 of Letters and Notes (see no. 107). He wears a Plains Indian shirt in the Smithsonian original, which Catlin may have later recognized as an inconsistency. The subject appears full length in cartoon 92 (NGA 1992), again wrapped in a blanket. His true identity is probably anyone's guess, although a Chinook boy of similar appearance is illustrated in McKenney and Hall (vol. 2, p. 276). This boy (or young man), whose name was Stumanu, toured Atlantic Coast cities in 1838 and 1839 to help raise funds for an Oregon mission.

Described by Catlin as a “Chinook boy, of fifteen or eighteen years of age” whose head had never been flattened (Letters and Notes, vol. 2, p. 110, pl. 209).

See number 147 for explanation of the date. The feather headdress has been omitted and the subject is wrapped in a blanket in both the Gilcrease portrait and plate 209 of Letters and Notes. He wears a Plains Indian shirt in the Smithsonian original, which Catlin may have later recognized as an inconsistency.

The subject appears full length in cartoon 92, again wrapped in a blanket. His true identity is probably anyone's guess, although a Chinook boy of similar appearance is illustrated in McKenney and Hall (vol. 2, p. 276). This boy (or young man), whose name was Stumanu, toured Atlantic Coast cities in 1838 and 1839 to help raise funds for an Oregon mission.

Described by Catlin as a “Chinook boy, of fifteen or eighteen years of age” whose head had never been flattened (Letters and Notes, vol. 2, p. 110, pl. 209).

See number 147 for explanation of the date. The feather headdress has been omitted and the subject is wrapped in a blanket in both the Gilcrease portrait and plate 209 of Letters and Notes (see no. 107). He wears a Plains Indian shirt in the Smithsonian original, which Catlin may have later recognized as an inconsistency.

The subject appears full length in cartoon 92 (NGA 1992), again wrapped in a blanket. His true identity is probably anyone's guess, although a Chinook boy of similar appearance is illustrated in McKenney and Hall (vol. 2, p. 276). This boy (or young man), whose name was Stumanu, toured Atlantic Coast cities in 1838 and 1839 to help raise funds for an Oregon mission.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Hee-doh'ge-ats, a young man Hee-doh'ge-ats, a Young Man George Catlin Object Chinook Chinook 1985_66_149 see previous 814 Catlin, George George Catlin 0 114 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. I have this day been painting a portrait of the head chief of the [Blood tribe] . . . he is a good-looking and dignified Indian, about fifty years of age, and superbly dressed; whilst sitting for his picture he has been surrounded by his own braves and warriors and also gazed at by his enemies, the Crows and the Knisteneaux, Assinneboins and Ojibbeways; a number of distinguished personages of each of which tribes have laid all day around the sides of my room; reciting to each other the battles they have fought, and pointing to the scalp-locks, worn as proofs of their victories, and attached to the seams of their shirts and leggings. . . . The name of this dignitary of whom I have just spoken is S tu-mick-o- sucks (the buffalo's back fat), i . e., the 'hump' or 'f leece/ the most delicious part of the buffalo's flesh. . . . The dress . . . of the chief . . . consists of a shirt or tunic, made of two deerskins finely dressed, and so placed together with the necks of the skins downwards, and the skins of the hind legs stitched together, the seams running down on each arm, from the neck to the knuckles of the hand; this seam is covered with a band of two inches in width, of very beautiful embroidery of porcupine quills, and suspended from the under edge of this, from the shoulders to the hands, is a fringe of the locks of black hair, which he has taken from the heads of victims slain by his own hand in battle. . . . In his hand he holds a very beautiful pipe, the stem of which is four or five feet long, and two inches wide, curiously wound with braids of the porcupine quills of various colours; and the bowl of the pipe ingeniously carved by himself from a piece of red steatite of an interesting character, and which they all tell me is procured somewhere between this place and the Falls of St. Anthony, on the head waters of the Mississippi" (Letters and Notes, vol. 1, pp. 29–31, pl. 11). Painted at Fort Union in 1832. Catlin believed that in the Blackfoot and Crow tribes he had at last found the perfection of aboriginal life, and his month-long visit to the mouth of the Yellowstone was perhaps the most satisfying and productive time of his western travels. In full command of his craft, and inspired by the rich costumes and splendid physical appearance of his subjects, he painted some of his finest portraits, and one that may well rank as his masterpiece, Buffalo Bull's Back Fat. Broadly yet firmly modeled, with incisive detail and bold color, the portrait is as accomplished as any painted on the Missouri River voyage. But more compelling is Catlin's measure of the impassive, brooding stare of the chief, who seems perplexed and challenged, in spite of his imposing appearance, by the unfamiliar circumstances in which he finds himself. Catlin must also have recognized the importance of the work, as it was one of two he entered in the Salon of 1846, perhaps after some additional finishing. Both paintings made a lasting impression on Baudelaire, who praised the noble and spirited character of the Indians, and the primitive strength of Catlin's reds and greens (see Beetem). Ewers (1949) compares the portrait to Karl Bodmer's watercolor of the same subject (illustrated here), in which the features are recorded with extreme detail. Catlin's work seems accurate enough by comparison and conveys a far greater range of drama and insight. Buffalo Bull's Back Fat becomes a full-length seated figure in plate 11 of Letters and Notes and cartoon 39. He is accompanied by his wife and a Blackfoot medicine man in the latter.

“I have this day been painting a portrait of the head chief of the [Blood tribe] … he is a good-looking and dignified Indian, about fifty years of age, and superbly dressed; whilst sitting for his picture he has been surrounded by his own braves and warriors and also gazed at by his enemies, the Crows and the Knisteneaux, Assinneboins and Ojibbeways; a number of distinguished personages of each of which tribes have laid all day around the sides of my room; reciting to each other the battles they have fought, and pointing to the scalp-locks, worn as proofs of their victories, and attached to the seams of their shirts and leggings.…

“The name of this dignitary of whom I have just spoken is S tu-mick-o-sucks (the buffalo's back fat), i.e., the ‘hump’ or ‘fleece’ the most delicious part of the buffalo's flesh. … The dress … of the chief … consists of a shirt or tunic, made of two deerskins finely dressed, and so placed together with the necks of the skins downwards, and the skins of the hind legs stitched together, the seams running down on each arm, from the neck to the knuckles of the hand; this seam is covered with a band of two inches in width, of very beautiful embroidery of porcupine quills, and suspended from the under edge of this, from the shoulders to the hands, is a fringe of the locks of black hair, which he has taken from the heads of victims slain by his own hand in battle. … In his hand he holds a very beautiful pipe, the stem of which is four or five feet long, and two inches wide, curiously wound with braids of the porcupine quills of various colours; and the bowl of the pipe ingeniously carved by himself from a piece of red steatite of an interesting character, and which they all tell me is procured somewhere between this place and the Falls of St. Anthony, on the head waters of the Mississippi” (Letters and Notes, vol. 1, pp. 29–31, pl. 11).

Painted at Fort Union in 1832. Catlin believed that in the Blackfoot and Crow tribes he had at last found the perfection of aboriginal life, and his month-long visit to the mouth of the Yellowstone was perhaps the most satisfying and productive time of his western travels. In full command of his craft, and inspired by the rich costumes and splendid physical appearance of his subjects, he painted some of his finest portraits, and one that may well rank as his masterpiece, Buffalo Bull's Back Fat. Broadly yet firmly modeled, with incisive detail and bold color, the portrait is as accomplished as any painted on the Missouri River voyage. But more compelling is Catlin's measure of the impassive, brooding stare of the chief, who seems perplexed and challenged, in spite of his imposing appearance, by the unfamiliar circumstances in which he finds himself.

Catlin must also have recognized the importance of the work, as it was one of two he entered in the Salon of 1846, perhaps after some additional finishing. Both paintings made a lasting impression on Baudelaire, who praised the noble and spirited character of the Indians, and the primitive strength of Catlin's reds and greens (see Beetem). Ewers (1949) compares the portrait to Karl Bodmer's watercolor of the same subject (illustrated here), in which the features are recorded with extreme detail. Catlin's work seems accurate enough by comparison and conveys a far greater range of drama and insight.

Buffalo Bull's Back Fat becomes a full-length seated figure in plate 11 of Letters and Notes and cartoon 39. He is accompanied by his wife and a Blackfoot medicine man in the latter.

“I have this day been painting a portrait of the head chief of the [Blood tribe] … he is a good-looking and dignified Indian, about fifty years of age, and superbly dressed; whilst sitting for his picture he has been surrounded by his own braves and warriors and also gazed at by his enemies, the Crows and the Knisteneaux, Assinneboins and Ojibbeways; a number of distinguished personages of each of which tribes have laid all day around the sides of my room; reciting to each other the battles they have fought, and pointing to the scalp-locks, worn as proofs of their victories, and attached to the seams of their shirts and leggings.…

“The name of this dignitary of whom I have just spoken is S tu-mick-o-sucks (the buffalo's back fat), i.e., the ‘hump’ or ‘fleece’ the most delicious part of the buffalo's flesh. … The dress … of the chief … consists of a shirt or tunic, made of two deerskins finely dressed, and so placed together with the necks of the skins downwards, and the skins of the hind legs stitched together, the seams running down on each arm, from the neck to the knuckles of the hand; this seam is covered with a band of two inches in width, of very beautiful embroidery of porcupine quills, and suspended from the under edge of this, from the shoulders to the hands, is a fringe of the locks of black hair, which he has taken from the heads of victims slain by his own hand in battle. … In his hand he holds a very beautiful pipe, the stem of which is four or five feet long, and two inches wide, curiously wound with braids of the porcupine quills of various colours; and the bowl of the pipe ingeniously carved by himself from a piece of red steatite of an interesting character, and which they all tell me is procured somewhere between this place and the Falls of St. Anthony, on the head waters of the Mississippi” (Letters and Notes, vol. 1, pp. 29–31, pl. 11).

Painted at Fort Union in 1832. Catlin believed that in the Blackfoot and Crow tribes he had at last found the perfection of aboriginal life, and his month-long visit to the mouth of the Yellowstone was perhaps the most satisfying and productive time of his western travels. In full command of his craft, and inspired by the rich costumes and splendid physical appearance of his subjects, he painted some of his finest portraits, and one that may well rank as his masterpiece, Buffalo Bull's Back Fat. Broadly yet firmly modeled, with incisive detail and bold color, the portrait is as accomplished as any painted on the Missouri River voyage. But more compelling is Catlin's measure of the impassive, brooding stare of the chief, who seems perplexed and challenged, in spite of his imposing appearance, by the unfamiliar circumstances in which he finds himself.

Catlin must also have recognized the importance of the work, as it was one of two he entered in the Salon of 1846, perhaps after some additional finishing. Both paintings made a lasting impression on Baudelaire, who praised the noble and spirited character of the Indians, and the primitive strength of Catlin's reds and greens (see Beetem and no. 521). Ewers (1949) compares the portrait to Karl Bodmer's watercolor of the same subject (illustrated here), in which the features are recorded with extreme detail. Catlin's work seems accurate enough by comparison and conveys a far greater range of drama and insight.

Buffalo Bull's Back Fat becomes a full-length seated figure in plate 11 of Letters and Notes and cartoon 39 (NGA 1986). He is accompanied by his wife (no. 150) and a Blackfoot medicine man in the latter.

painting painting This is one of my favorite paintings. I thought, 'Where did they come up with that name?' But I don't know if you have ever eaten [buffalo] back fat; it's right along the side of the back underneath. Mmm, it's good! Of course it's probably laden with cholesterol, but nonetheless. This is a very handsome man. George P. Horse Capture, Gros Ventre/A'aninin Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Stu-mick-o-sucks, Buffalo Bull's Back Fat, head chief, Blood Tribe Stu-mick-o-súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe This magnificent portrait was painted at Fort Union "from the free and vivid realities of life" rather than "the haggard deformities and distortions of disease and death" Catlin noted among frontier Indians. Buffalo Bull's Back Fat (named after the most delectable cut of bison) was a chief of the Blackfoot, a tribe of the northernmost Plains whose territory straddled the present-day border between the United States and Canada. Catlin considered the people of the northern Plains the least corrupted by white contact, and helped establish their image as nature's sovereign nobility in Europe as well as America. This commanding portrait, for example, was exhibited to favorable notice in the Paris Salon of 1846.

This magnificent portrait was painted at Fort Union "from the free and vivid realities of life" rather than "the haggard deformities and distortions of disease and death" Catlin noted among frontier Indians. Buffalo Bull's Back Fat (named after the most delectable cut of bison) was a chief of the Blackfoot, a tribe of the northernmost Plains whose territory straddled the present-day border between the United States and Canada. Catlin considered the people of the northern Plains the least corrupted by white contact, and helped establish their image as nature's sovereign nobility in Europe as well as America. This commanding portrait, for example, was exhibited to favorable notice in the Paris Salon of 1846.

18 George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Blackfoot/Kainai Blackfoot/Kainai 1985_66_15 814 Catlin, George George Catlin 0 9 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Jefferson Barracks in October 1832 (see no. 2). Catlin has added a necklace, arm band, and bracelet to the Field Museum version, but the facial features and forehead structure are more convincing in the Smithsonian portrait (see no. 3).

Probably painted at Jefferson Barracks in October 1832. Catlin has added a necklace, arm band, and bracelet to the Field Museum version, but the facial features and forehead structure are more convincing in the Smithsonian portrait.

Probably painted at Jefferson Barracks in October 1832 (see no. 2). Catlin has added a necklace, arm band, and bracelet to the Field Museum version, but the facial features and forehead structure are more convincing in the Smithsonian portrait (see no. 3).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pash-ee-pa-ho, Little Stabbing Chief the Younger, one of Black Hawk's braves Pash-ee-pa-hó, Little Stabbing Chief the Younger, One of Black Hawk's Braves George Catlin Object Sac and Fox 1985_66_150 814 Catlin, George George Catlin 0 99 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. I have also placed upon my canvass [Crystal Stone]; her countenance is rather pleasing, which is an uncommon thing amongst the Blackfeet her dress is made of skins, and being the youngest of a bevy of six or eight, and the last one taken under his [the chief's] guardianship, was smiled upon with great satisfaction (Letters and Notes, vol. 1, p. 30, pl. 13). Painted at Fort Union in 1832. Crystal Stone also appears, full length, in cartoon 39 (NGA 1986), with her husband (no. 149).

“I have also placed upon my canvass [Crystal Stone]; her countenance is rather pleasing, which is an uncommon thing amongst the Blackfeet her dress is made of skins, and being the youngest of a bevy of six or eight, and the last one taken under his [the chief's] guardianship, was smiled upon with great satisfaction” (Letters and Notes, vol. 1, p. 30, pl. 13).

Painted at Fort Union in 1832. Crystal Stone also appears, full length, in cartoon 39, with her husband.

“I have also placed upon my canvass [Crystal Stone]; her countenance is rather pleasing, which is an uncommon thing amongst the Blackfeet her dress is made of skins, and being the youngest of a bevy of six or eight, and the last one taken under his [the chief's] guardianship, was smiled upon with great satisfaction” (Letters and Notes, vol. 1, p. 30, pl. 13).

Painted at Fort Union in 1832. Crystal Stone also appears, full length, in cartoon 39 (NGA 1986), with her husband (no. 149).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Eeh-nis-kim, Crystal Stone, wife of the chief Eeh-nís-kim, Crystal Stone, Wife of the Chief Crystal Stone was the youngest wife of the Blackfoot chief Buffalo Bull's Back Fat (see [.149]), the "apple of his eye" and "exempted . . . from the drudgeries of the camp." Catlin generously added that "her countenance is rather pleasing, which is an uncommon thing amongst the Blackfeet."

Crystal Stone was the youngest wife of the Blackfoot chief Buffalo Bull's Back Fat (see [.149]), the "apple of his eye" and "exempted…from the drudgeries of the camp." Catlin generously added that "her countenance is rather pleasing, which is an uncommon thing amongst the Blackfeet."

George Catlin Object Blackfoot/Kainai Blackfoot/Kainai 1985_66_151 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a warrior, full-length, with medicine- bag of otter-skin" (1848 catalogue, p. 20). Painted at Fort Union in 1832. Catlin mistakenly identifies plate 16 in Letters and Notes as Iron Horn (no. 153), but then describes the same figure as Buffalo's Child in the 1848 catalogue. The subj ct appears again as the central figure in cartoon 38 (NGA 1985), which is based on a watercolor (pl. 22) in the Gilcrease Souvenir album. The Gilcrease watercolor listed above, which has always been labeled Buffalo's Child, is identical to plate 16 in Letters and Notes and the Smithsonian oil. A comparison of the facial expression in the Gilcrease and Smithsonian portraits reveals, as usual, that the latter is the life study (see nos. 62, 107). In his letters from Fort Union, Catlin often refers to the canvases upon which he painted his portraits.

Described by Catlin as “a warrior, full-length, with medicine-bag of otter-skin” (1848 catalogue, p. 20).

Painted at Fort Union in 1832. Catlin mistakenly identifies plate 16 in Letters and Notes as Iron Horn, but then describes the same figure as Buffalo's Child in the 1848 catalogue. The subject appears again as the central figure in cartoon 38, which is based on a watercolor (pl. 22) in the Gilcrease Souvenir album.

The Gilcrease watercolor listed above, which has always been labeled Buffalo's Child, is identical to plate 16 in Letters and Notes and the Smithsonian oil. A comparison of the facial expression in the Gilcrease and Smithsonian portraits reveals, as usual, that the latter is the life study. In his letters from Fort Union, Catlin often refers to the canvases upon which he painted his portraits.

Described by Catlin as “a warrior, full-length, with medicine-bag of otter-skin” (1848 catalogue, p. 20).

Painted at Fort Union in 1832. Catlin mistakenly identifies plate 16 in Letters and Notes as Iron Horn (no. 153), but then describes the same figure as Buffalo's Child in the 1848 catalogue. The subj ct appears again as the central figure in cartoon 38 (NGA 1985), which is based on a watercolor (pl. 22) in the Gilcrease Souvenir album.

The Gilcrease watercolor listed above, which has always been labeled Buffalo's Child, is identical to plate 16 in Letters and Notes and the Smithsonian oil. A comparison of the facial expression in the Gilcrease and Smithsonian portraits reveals, as usual, that the latter is the life study (see nos. 62, 107). In his letters from Fort Union, Catlin often refers to the canvases upon which he painted his portraits.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). In-ne-o-cose, Buffalo's child, a Warrior In-ne-ó-cose, Buffalo's Child, a Warrior George Catlin Object 1985_66_152 see previous 814 Catlin, George George Catlin 0 76 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. This man is one of the extraordinary men of the Blackfoot tribe; though not a chief, he stands here in the Fort, and deliberately boasts of eight scalps, which he says he has taken from the heads of trappers and traders with his own hand. His dress is really superb, almost literally covered with scalplocks, of savage and civil. I have painted him at full length, with a headdress made entirely of ermine skins and horns of the buffalo. This custom of wearing horns beautifully polished and surmounting the head-dress, is a very curious one, being worn only by the bravest of the brave; by the most extraordinary men in the nation. . . . When he stood for his picture, he also held a lance and two 'medicine-bags' in his hand" (Letters and Notes, vol. 1, pp. 30, 34, pl. 14). Painted from life at Fort Union in 1832, according to a certificate signed by John Sanford, Indian agent, that survives in Smithsonian files. The certificate also states that Catlin accurately reproduced the costume worn by the sitter. Eagle's Ribs appears again in cartoon 40 (AMNH 120), with his wife and a Blackfoot warrior. The cartoon is based on a watercolor (pl. 20) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum fŸr Všlkerkunde, Berlin.

“This man is one of the extraordinary men of the Blackfoot tribe; though not a chief, he stands here in the Fort, and deliberately boasts of eight scalps, which he says he has taken from the heads of trappers and traders with his own hand. His dress is really superb, almost literally covered with scalplocks, of savage and civil.

“I have painted him at full length, with a headdress made entirely of ermine skins and horns of the buffalo. This custom of wearing horns beautifully polished and surmounting the head-dress, is a very curious one, being worn only by the bravest of the brave; by the most extraordinary men in the nation. … When he stood for his picture, he also held a lance and two ‘medicine-bags’ in his hand” (Letters and Notes, vol. 1, pp. 30, 34, pl. 14).

Painted from life at Fort Union in 1832, according to a certificate signed by John Sanford, Indian agent, that survives in Smithsonian files. The certificate also states that Catlin accurately reproduced the costume worn by the sitter.

Eagle's Ribs appears again in cartoon 40, with his wife and a Blackfoot warrior. The cartoon is based on a watercolor (pl. 20) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum für Völkerkunde, Berlin.

“This man is one of the extraordinary men of the Blackfoot tribe; though not a chief, he stands here in the Fort, and deliberately boasts of eight scalps, which he says he has taken from the heads of trappers and traders with his own hand. His dress is really superb, almost literally covered with scalplocks, of savage and civil.

“I have painted him at full length, with a headdress made entirely of ermine skins and horns of the buffalo. This custom of wearing horns beautifully polished and surmounting the head-dress, is a very curious one, being worn only by the bravest of the brave; by the most extraordinary men in the nation. … When he stood for his picture, he also held a lance and two ‘medicine-bags’ in his hand” (Letters and Notes, vol. 1, pp. 30, 34, pl. 14).

Painted from life at Fort Union in 1832, according to a certificate signed by John Sanford, Indian agent, that survives in Smithsonian files. The certificate also states that Catlin accurately reproduced the costume worn by the sitter.

Eagle's Ribs appears again in cartoon 40 (AMNH 120), with his wife and a Blackfoot warrior. The cartoon is based on a watercolor (pl. 20) in the Gilcrease Souvenir album, and an oil-on-canvas version of the composition is in the Museum für Völkerkunde, Berlin.

painting painting (full length) Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Peh-to-pe-kiss, Eagle's Ribs, a Piegan Chief (full-length) Peh-tó-pe-kiss, Eagle's Ribs, a Piegan Chief Catlin called upon fur traders, army officers, and government Indian agents to certify the accuracy of his pictures, an important service for an artist who proclaimed that the value of his work lay in its authenticity rather than its aesthetic quality. This portrait, painted at Fort Union, bears a certificate signed by the Indian agent John Sanford.

Catlin called upon fur traders, army officers, and government Indian agents to certify the accuracy of his pictures, an important service for an artist who proclaimed that the value of his work lay in its authenticity rather than its aesthetic quality. This portrait, painted at Fort Union, bears a certificate signed by the Indian agent John Sanford.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Blackfoot/Pikuni Blackfoot/Pikuni 1985_66_153 814 Catlin, George George Catlin 0 216 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes Iron Horn as a "warrior, in a splendid dress" (1848 catalogue, p. 20). Painted at Fort Union in 1832 (see no. 149). Certain Blackfoot portraits are closely related to the Sioux series (see no. 85). Catlin apparently confused the names of Iron Horn and Buffalo's Child (no. 15 1) when identifying plate 16 in Letters and Notes. Iron Horn also appears, full length, in cartoon 38 (NGA 1985), in a different pose and costume.

Catlin describes Iron Horn as a “warrior, in a splendid dress” (1848 catalogue, p. 20).

Painted at Fort Union in 1832. Certain Blackfoot portraits are closely related to the Sioux series. Catlin apparently confused the names of Iron Horn and Buffalo's Child when identifying plate 16 in Letters and Notes. Iron Horn also appears, full length, in cartoon 38, in a different pose and costume.

Catlin describes Iron Horn as a “warrior, in a splendid dress” (1848 catalogue, p. 20).

Painted at Fort Union in 1832 (see no. 149). Certain Blackfoot portraits are closely related to the Sioux series (see no. 85). Catlin apparently confused the names of Iron Horn and Buffalo's Child (no. 151) when identifying plate 16 in Letters and Notes. Iron Horn also appears, full length, in cartoon 38 (NGA 1985), in a different pose and costume.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mix-ke-motte-skin-na, Iron Horn, a warrior Mix-ke-móte-skin-na, Iron Horn, a Warrior George Catlin Object Blackfoot/Siksika Blackfoot/Siksika 1985_66_155 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/9/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as a full-length portrait, with the subject "in a beautiful dress of the mountaingoats' skins, and her robe of the young buffalo's hide" (Letters and Notes, vol. 1, p. 34, pl. 17). Painted at Fort Union in 1832. The markings on the subject's buffalo robe and the height of the skin lodge in the background vary slightly between the Field Museum and Smithsonian portraits (see- no. 3). The latter more closely matches plate 17 in Letters and Notes. Woman Who Strikes Many appears again in cartoon 38 (NGA 1985, see no. 151).

Described by Catlin as a full-length portrait, with the subject “in a beautiful dress of the mountaingoats' skins, and her robe of the young buffalo's hide” (Letters and Notes, vol. 1, p. 34, pl. 17).

Painted at Fort Union in 1832. The markings on the subject's buffalo robe and the height of the skin lodge in the background vary slightly between the Field Museum and Smithsonian portraits . The latter more closely matches plate 17 in Letters and Notes.

Woman Who Strikes Many appears again in cartoon 38.

Described by Catlin as a full-length portrait, with the subject “in a beautiful dress of the mountaingoats' skins, and her robe of the young buffalo's hide” (Letters and Notes, vol. 1, p. 34, pl. 17).

Painted at Fort Union in 1832. The markings on the subject's buffalo robe and the height of the skin lodge in the background vary slightly between the Field Museum and Smithsonian portraits (see- no. 3). The latter more closely matches plate 17 in Letters and Notes.

Woman Who Strikes Many appears again in cartoon 38 (NGA 1985, see no. painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Woman Who Strikes Many Ah'-kay-ee-pix-en, Woman Who Strikes Many George Catlin Object 1985_66_157 see previous 814 Catlin, George George Catlin 0 LW077 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject holds a war club, according to Catlin (1848 catalogue, p. 21). Painted at Fort Union in 1832.

The subject holds a war club, according to Catlin (1848 catalogue, p. 21).

Painted at Fort Union in 1832.The subject holds a war club, according to Catlin (1848 catalogue, p. 21).

Painted at Fort Union in 1832.The proud stance of this man holding a war club exemplifies Catlin's statement that the Blackfeet are “undoubtedly the finest looking, best equipped, and most beautifully costumed of any on the Continent.”

The proud stance of this man holding a war club exemplifies Catlin's statement that the Blackfeet are "undoubtedly the finest looking, best equipped, and most beautifully costumed of any on the Continent." Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tcha-dos-sa-ko-meh-pee, BearÕs Child Tcha-dés-sa-ko-máh-pee, BearÕs Child George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art 1985_66_158 814 Catlin, George George Catlin 0 117 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. I have also transferred to my canvass the 'looks and very resemblance' of an aged chief, who combines with his high office, the envied title of mystery or medicine-man, i.e. doctor -magician - prophet -soothsayer -jongleur- and high priest, all combined in one person, who necessarily is looked upon as 'Sir Oracle' of the nation. . . . on his left arm he presents his mystery-drum or tambour, in which are concealed the hidden and sacred mysteries of his healing art (Letters and Notes, Vol. 1, P. 34, pl. 15). Painted at Fort Union in 1832 (see nos. 149, 161). White Buffalo also appears in cartoon 39 (NGA 1986).

“I have also transferred to my canvass the 'looks and very resemblance’ of an aged chief, who combines with his high office, the envied title of mystery or medicine-man, i.e. doctor -magician-prophet -soothsayer -jongleur- and high priest, all combined in one person, who necessarily is looked upon as ‘Sir Oracle’ of the nation. … on his left arm he presents his mystery-drum or tambour, in which are concealed the hidden and sacred mysteries of his healing art” (Letters and Notes, Vol. 1, P. 34, pl. 15).

Painted at Fort Union in 1832. White Buffalo also appears in cartoon 39.

“I have also transferred to my canvass the 'looks and very resemblance’ of an aged chief, who combines with his high office, the envied title of mystery or medicine-man, i.e. doctor -magician-prophet -soothsayer -jongleur- and high priest, all combined in one person, who necessarily is looked upon as ‘Sir Oracle’ of the nation. … on his left arm he presents his mystery-drum or tambour, in which are concealed the hidden and sacred mysteries of his healing art” (Letters and Notes, Vol. 1, P. 34, pl. 15).

Painted at Fort Union in 1832 (see nos. 149, 161). White Buffalo also appears in cartoon 39 (NGA 1986).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wun-nes-tou, White Buffalo, an aged medicine man Wún-nes-tou, White Buffalo, an Aged Medicine Man George Catlin Object Blackfoot/Siksika Blackfoot/Siksika 1985_66_159 814 Catlin, George George Catlin 0 100 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The grandson also of this sachem, a boy of six years of age, and too young as yet to have acquired a name, has stood forth like a tried warrior; and I have painted him at full length, with his bow and quiver slung, and his robe made of a raccoon skin. The history of this child is somewhat curious and interesting; his father is dead, and in case of the death of the chief . . . he becomes hereditary chief of the tribe. This boy has been twice stolen away by the Crows by ingenious stratagems, and twice re-captured by the Blackfeet, at considerable sacrifice of life, and at present he is lodged with Mr. M'Kenzie, for safekeeping and protection, until he shall arrive at the proper age to take the office to which he is to succeed (Letters and Notes, vol. 1, p. 30, pl. 12). Painted at Fort Union in 1832. The true proportions of such a diminutive figure were still beyond Catlin's reach, but the appealing roundness of the little boy effectively conveys his age. The face and figure in the Gilcrease portrait are only a stylized approximation of the original (see no. 125).

“The grandson also of this sachem, a boy of six years of age, and too young as yet to have acquired a name, has stood forth like a tried warrior; and I have painted him at full length, with his bow and quiver slung, and his robe made of a raccoon skin. The history of this child is somewhat curious and interesting; his father is dead, and in case of the death of the chief … he becomes hereditary chief of the tribe. This boy has been twice stolen away by the Crows by ingenious stratagems, and twice re-captured by the Blackfeet, at considerable sacrifice of life, and at present he is lodged with Mr. M'Kenzie, for safekeeping and protection, until he shall arrive at the proper age to take the office to which he is to succeed” (Letters and Notes, vol. 1, p. 30, pl. 12).

Painted at Fort Union in 1832. The true proportions of such a diminutive figure were still beyond Catlin's reach, but the appealing roundness of the little boy effectively conveys his age. The face and figure in the Gilcrease portrait are only a stylized approximation of the original.

“The grandson also of this sachem, a boy of six years of age, and too young as yet to have acquired a name, has stood forth like a tried warrior; and I have painted him at full length, with his bow and quiver slung, and his robe made of a raccoon skin. The history of this child is somewhat curious and interesting; his father is dead, and in case of the death of the chief … he becomes hereditary chief of the tribe. This boy has been twice stolen away by the Crows by ingenious stratagems, and twice re-captured by the Blackfeet, at considerable sacrifice of life, and at present he is lodged with Mr. M'Kenzie, for safekeeping and protection, until he shall arrive at the proper age to take the office to which he is to succeed” (Letters and Notes, vol. 1, p. 30, pl. 12).

Painted at Fort Union in 1832. The true proportions of such a diminutive figure were still beyond Catlin's reach, but the appealing roundness of the little boy effectively conveys his age. The face and figure in the Gilcrease portrait are only a stylized approximation of the original (see no. 125).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tcha-aes-ka-ding, Grandson of Buffalo Bull's Back Fat Tcha-aés-ka-ding, Grandson of Buffalo Bull's Back Fat This plump six-year-old was directly in line to become chief of the Blackfoot. Twice kidnapped by Crow, he lived at Fort Union under the protection of its chief trader Kenneth Mackenzie, who planned to keep him until "he shall arrive at the proper age to take up the office to which he is to succeed."

This plump six-year-old was directly in line to become chief of the Blackfoot. Twice kidnapped by Crow, he lived at Fort Union under the protection of its chief trader Kenneth Mackenzie, who planned to keep him until "he shall arrive at the proper age to take up the office to which he is to succeed."

George Catlin Object Blackfoot/Kainai Blackfoot/Kainai 1985_66_16 814 Catlin, George George Catlin 0 201 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at the Sauk and Fox village in 1835. Catlin seems not to have made full-length portraits of any of the prisoners at Jefferson Barracks in 1832 (see no. 2), and Bear's Track's pose is similar to numbers 9 and I I .

Probably painted at the Sauk and Fox village in 1835. Catlin seems not to have made full-length portraits of any of the prisoners at Jefferson Barracks in 1832, and Bear's Track's pose is similar to numbers 9 and 11.

Probably painted at the Sauk and Fox village in 1835. Catlin seems not to have made full-length portraits of any of the prisoners at Jefferson Barracks in 1832 (see no. 2), and Bear's Track's pose is similar to numbers 9 and 11.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-pa-ko-las-kuk, Bear's Track Wáh-pa-ko-lás-kuk, Bear's Track George Catlin Object Sac and Fox Sac and Fox 1985_66_160 814 Catlin, George George Catlin 0 111 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at Fort Union in 1832 (see nos. 149, 153). Eagle's Ribs is also the subject of a more elaborate full-length portrait by Catlin (see no. 152).

Painted at Fort Union in 1832. Eagle's Ribs is also the subject of a more elaborate full-length portrait by Catlin.

Painted at Fort Union in 1832 (see nos. 149, 153). Eagle's Ribs is also the subject of a more elaborate full-length portrait by Catlin (see no. 152).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Peh-to-pe-kiss, Eagle's Ribs, a Piegan chief (half-length) Peh-tó-pe-kiss, Eagle's Ribs, a Piegan Chief Eagle's Ribs, though not a chief, was nevertheless "one of the extraordinary men of the Blackfoot," the proud owner of "eight scalps, which he says he has taken from the heads of trappers and traders with his own hand."

Eagle's Ribs, though not a chief, was nevertheless "one of the extraordinary men of the Blackfoot," the proud owner of "eight scalps, which he says he has taken from the heads of trappers and traders with his own hand."

George Catlin Object Blackfoot/Pikuni Blackfoot/Pikuni 1985_66_161 814 Catlin, George George Catlin 0 116 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/26/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. [The medicine man] approached the ring [of spectators] with his body in a crouching position, with a slow and tilting step- his body and head were entirely covered with the skin of a yellow bear, the head of which (his own head being inside of it) served as a mask; the huge claws of which also, were dangling on his wrists and ancles; in one hand he shook a frightful rattle, and in the other brandished his medicine-spear or magic wand; to the rattling din and discord of all of which, he added the wild and startling jumps and yelps of the Indian, and horrid and appalling grunts, and snarls, and growls of the grizzly bear, in ejaculatory and guttural incantations to the Good and Bad Spirits, in behalf of his patient; who was rolling and groaning in the agonies of death, whilst he was dancing around him, jumping over him, and pawing him about, and rolling him in every direction (Letters and Notes, vol. 1, pp. 39-41, pl. 19). Painted at Fort Union in 1832. The medicine man also appears in a watercolor (pl. 30, labeled White Buffalo) in the Gilcrease Souvenir album, and in cartoon 185 (AMNH 122), practicing his ritual before a crowd of Indians. The scene must have inspired a somewhat similar painting at Beaver House in London by the British artist C. P. Manley.

“[The medicine man] approached the ring [of spectators] with his body in a crouching position, with a slow and tilting step—his body and head were entirely covered with the skin of a yellow bear, the head of which (his own head being inside of it) served as a mask; the huge claws of which also, were dangling on his wrists and ancles; in one hand he shook a frightful rattle, and in the other brandished his medicine-spear or magic wand; to the rattling din and discord of all of which, he added the wild and startling jumps and yelps of the Indian, and horrid and appalling grunts, and snarls, and growls of the grizzly bear, in ejaculatory and guttural incantations to the Good and Bad Spirits, in behalf of his patient; who was rolling and groaning in the agonies of death, whilst he was dancing around him, jumping over him, and pawing him about, and rolling him in every direction” (Letters and Notes, vol. 1, pp. 30–41, pl. 19).

Painted at Fort Union in 1832. The medicine man also appears in a watercolor (pl. 30, labeled White Buffalo) in the Gilcrease Souvenir album, and in cartoon 185, practicing his ritual before a crowd of Indians. The scene must have inspired a somewhat similar painting at Beaver House in London by the British artist C. P. Manley.

“[The medicine man] approached the ring [of spectators] with his body in a crouching position, with a slow and tilting step—his body and head were entirely covered with the skin of a yellow bear, the head of which (his own head being inside of it) served as a mask; the huge claws of which also, were dangling on his wrists and ancles; in one hand he shook a frightful rattle, and in the other brandished his medicine-spear or magic wand; to the rattling din and discord of all of which, he added the wild and startling jumps and yelps of the Indian, and horrid and appalling grunts, and snarls, and growls of the grizzly bear, in ejaculatory and guttural incantations to the Good and Bad Spirits, in behalf of his patient; who was rolling and groaning in the agonies of death, whilst he was dancing around him, jumping over him, and pawing him about, and rolling him in every direction” (Letters and Notes, vol. 1, pp. 30–41, pl. 19).

Painted at Fort Union in 1832. The medicine man also appears in a watercolor (pl. 30, labeled White Buffalo) in the Gilcrease Souvenir album, and in cartoon 185 (AMNH 122), practicing his ritual before a crowd of Indians. The scene must have inspired a somewhat similar painting at Beaver House in London by the British artist C. P. Manley.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Medicine man, performing his mysteries over a dying man Medicine Man, Performing His Mysteries Over a Dying Man A medicine man, Catlin explained, treated his patient first with roots and herbs and, if that failed, resorted to "shaking his frightful rattles, and singing songs of incantation." The doctor's derived in part from his clothing, composed of "the skins of snakes, and frogs, and bats,---beaks and toes and tails of birds,---hoofs of deer, goats, and antelopes," all exhibiting "anomalies or deformities, which render them . . . medicine." Catlin managed to purchase this outfit, which he donned on occasion to enliven his presentation of the Indian Gallery.

A medicine man, Catlin explained, treated his patient first with roots and herbs and, if that failed, resorted to "shaking his frightful rattles, and singing songs of incantation." The doctor's derived in part from his clothing, composed of "the skins of snakes, and frogs, and bats,—beaks and toes and tails of birds,—hoofs of deer, goats, and antelopes," all exhibiting "anomalies or deformities, which render them…medicine." Catlin managed to purchase this outfit, which he donned on occasion to enliven his presentation of the Indian Gallery.

George Catlin Object Blackfoot/Siksika Blackfoot/Siksika 1985_66_162 814 Catlin, George George Catlin 0 224 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. A fine looking fellow, six feet in stature, and whose natural hair sweeps the grass as he walks; he is beautifully clad, and carries himself with the most graceful and manly mien -he is in mourning for a brother; and according to their custom, has cut off a number of locks of his long hair, which is as much as a man can well spare of so valued an ornament, which he has been f or the greater part of his life cultivating (Letters and Notes, vol. 1, p. 50, pl. 24). Painted at Fort Union in 1832 (see no. 149). The style of several Crow portraits is again similar to the Sioux series (see nos. 153, 85). Four Wolves also appears, full length, in cartoon 27 (NGA 1978).

“The grandson also of this sachem, a boy of six years of age, and too young as yet to have acquired a name, has stood forth like a tried warrior; and I have painted him at full length, with his bow and quiver slung, and his robe made of a raccoon skin. The history of this child is somewhat curious and interesting; his father is dead, and in case of the death of the chief … he becomes hereditary chief of the tribe. This boy has been twice stolen away by the Crows by ingenious stratagems, and twice re-captured by the Blackfeet, at considerable sacrifice of life, and at present he is lodged with Mr. M'Kenzie, for safekeeping and protection, until he shall arrive at the proper age to take the office to which he is to succeed” (Letters and Notes, vol. 1, p. 30, pl. 12).

Painted at Fort Union in 1832. The true proportions of such a diminutive figure were still beyond Catlin's reach, but the appealing roundness of the little boy effectively conveys his age. The face and figure in the Gilcrease portrait are only a stylized approximation of the original.

“The grandson also of this sachem, a boy of six years of age, and too young as yet to have acquired a name, has stood forth like a tried warrior; and I have painted him at full length, with his bow and quiver slung, and his robe made of a raccoon skin. The history of this child is somewhat curious and interesting; his father is dead, and in case of the death of the chief … he becomes hereditary chief of the tribe. This boy has been twice stolen away by the Crows by ingenious stratagems, and twice re-captured by the Blackfeet, at considerable sacrifice of life, and at present he is lodged with Mr. M'Kenzie, for safekeeping and protection, until he shall arrive at the proper age to take the office to which he is to succeed” (Letters and Notes, vol. 1, p. 30, pl. 12).

Painted at Fort Union in 1832. The true proportions of such a diminutive figure were still beyond Catlin's reach, but the appealing roundness of the little boy effectively conveys his age. The face and figure in the Gilcrease portrait are only a stylized approximation of the original (see no. 125).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Chah-ee-chopes, Four Wolves, a chief in mourning Cháh-ee-chópes, Four Wolves, a Chief in Mourning George Catlin Object Crow/Apsaalooke Crow/Apsaalooke 1985_66_164 see previous 814 Catlin, George George Catlin 0 118 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. I have also secured portraits of [the two subjects] . . . fine and fair specimens of this tribe, in both of which are exhibited the extraordinary instances of the natural hair reaching to the ground, peculiarities belonging almost exclusively to this tribe. . . . The Crows are generally handsome, and comfortably clad; every man in the nation oils his hair with a profusion of bear's grease, and promotes its growth to the utmost of his ability. . . . In a former letter I gave some account of the head peculiar to this tribe, which may well be recorded as a national characteristic. . . . This striking peculiarity is quite conspicuous in the two portraits of which I have just spoken, exhibiting fairly, as they are both in profile, the semi-lunar outline of the face. The greater part of the men are thus strongly marked with a bold and prominent anti-angular nose, with a clear and rounded arch, and a low and receding forehead" (Letters and Notes, vol. 1, p. 193, p1s. 77, 78). Painted at the Hidatsa village in 1832. These two portraits, among the finest of the Upper Missouri series, represent the sum of Catlin's admiration for the tall and elegant Crow warriors. In the Field Museum version, the robe of the subject lacks certain decorative details and his profile is a hasty caricature of the Smithsonian original. Otherwise, the two oils and the Gilcrease watercolor closely resemble one another and plate 77 in Letters and Notes. Cartoon 122 (unlocated) may be another oil-on-canvas version of number 163. Catlin must have inadvertently reversed the plate numbers for the two subjects in his text. He describes Two Crows correctly in the 1848 catalogue as wearing a "head-dress made of the eagle's skin entire" and holding "his lance and two medicine-bags." Two Crows appears again in cartoon 27, with his wife and several Crow warriors. He Who Ties His Hair Before is shown in cartoon 25 (formerly AMNH), which is based on a watercolor (pl. 24) in the Gilcrease Souvenir album.

“I have also secured portraits of [the two subjects] … fine and fair specimens of this tribe, in both of which are exhibited the extraordinary instances of the natural hair reaching to the ground, peculiarities belonging almost exclusively to this tribe. … The Crows are generally handsome, and comfortably clad; every man in the nation oils his hair with a profusion of bear's grease, and promotes its growth to the utmost of his ability.…

“In a former letter I gave some account of the head peculiar to this tribe, which may well be recorded as a national characteristic. … This striking peculiarity is quite conspicuous in the two portraits of which I have just spoken, exhibiting fairly, as they are both in profile, the semi-lunar outline of the face. … The greater part of the men are thus strongly marked with a bold and prominent anti-angular nose, with a clear and rounded arch, and a low and receding forehead” (Letters and Notes, vol. 1, p. 193, p1s. 77, 78).

Painted at the Hidatsa village in 1832. These two portraits, among the finest of the Upper Missouri series, represent the sum of Catlin's admiration for the tall and elegant Crow warriors.

In the Field Museum version, the robe of the subject lacks certain decorative details and his profile is a hasty caricature of the Smithsonian original. Otherwise, the two oils and the Gilcrease watercolor closely resemble one another and plate 77 in Letters and Notes. Cartoon 122 may be another oil-on-canvas version of number 163.

Catlin must have inadvertently reversed the plate numbers for the two subjects in his text. He describes Two Crows correctly in the 1848 catalogue as wearing a “head-dress made of the eagle's skin entire” and holding “his lance and two medicine-bags.”

Two Crows appears again in cartoon 27, with his wife and several Crow warriors. He Who Ties His Hair Before is shown in cartoon 25, which is based on a watercolor (pl. 24) in the Gilcrease Souvenir album.

“I have also secured portraits of [the two subjects] … fine and fair specimens of this tribe, in both of which are exhibited the extraordinary instances of the natural hair reaching to the ground, peculiarities belonging almost exclusively to this tribe. … The Crows are generally handsome, and comfortably clad; every man in the nation oils his hair with a profusion of bear's grease, and promotes its growth to the utmost of his ability.…

“In a former letter I gave some account of the head peculiar to this tribe, which may well be recorded as a national characteristic. … This striking peculiarity is quite conspicuous in the two portraits of which I have just spoken, exhibiting fairly, as they are both in profile, the semi-lunar outline of the face. … The greater part of the men are thus strongly marked with a bold and prominent anti-angular nose, with a clear and rounded arch, and a low and receding forehead” (Letters and Notes, vol. 1, p. 193, p1s. 77, 78).

Painted at the Hidatsa village in 1832. These two portraits, among the finest of the Upper Missouri series, represent the sum of Catlin's admiration for the tall and elegant Crow warriors (see no. 149).

In the Field Museum version, the robe of the subject (fig. 142; no. 163) lacks certain decorative details and his profile is a hasty caricature of the Smithsonian original (see no. 3). Otherwise, the two oils and the Gilcrease watercolor closely resemble one another and plate 77 in Letters and Notes (see no. 151). Cartoon 122 (unlocated) may be another oil-on-canvas version of number 163.

Catlin must have inadvertently reversed the plate numbers for the two subjects in his text. He describes Two Crows correctly in the 1848 catalogue as wearing a “head-dress made of the eagle's skin entire” and holding “his lance and two medicine-bags.”

Two Crows appears again in cartoon 27 (NGA 1978), with his wife and several Crow warriors. He Who Ties His Hair Before is shown in cartoon 25 (formerly AMNH), which is based on a watercolor (pl. 24) in the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pa-ris-ka-roo-pa, Two Crows, a Band Chief Pa-rís-ka-róo-pa, Two Crows, a Band Chief Catlin was struck by the "semi-lunar" profile of the Crow, which he found similar to faces recorded in the pre-Columbian art of Mexico. The Crow were also distinguished by the extraordinary length of their hair. Two Crows' locks, coated with bear grease, reached the ground.

Catlin was struck by the "semi-lunar" profile of the Crow, which he found similar to faces recorded in the pre-Columbian art of Mexico. The Crow were also distinguished by the extraordinary length of their hair. Two Crows' locks, coated with bear grease, reached the ground.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Crow/Apsaalooke Crow/Apsaalooke 1985_66_165 814 Catlin, George George Catlin 0 313 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a brave, wrapped in his robe, and his hair reaching to the ground; his spear in his hand, and bow and quiver slung" (1848 catalogue, p. 22). Painted at Fort Union in 1832. The subject also appears in Cartoon 27 (NGA 1978) in a different costume.

Described by Catlin as "a brave, wrapped in his robe, and his hair reaching to the ground; his spear in his hand, and bow and quiver slung" (1848 catalogue, p. 22).

Painted at Fort Union in 1832. The subject also appears in Cartoon 27 (NGA 1978) in a different costume.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ho-ra-to-a, a Brave Hó-ra-tó-a, a Brave George Catlin Object Crow/Apsaalooke Crow/Apsaalooke 1985_66_166 814 Catlin, George George Catlin 0 101 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes the subject as having her hair cut off in mourning (1848 catalogue, p. 22). Painted at Fort Union in 1832. The full, strong features and direct gaze indicate a surprising rapport between subject and artist. The woman appears again, full length, in cartoon 27 (NGA 1978), with a blanket wrapped around her.

Catlin describes the subject as having her hair cut off in mourning (1848 catalogue, p. 22).

Painted at Fort Union in 1832. The full, strong features and direct gaze indicate a surprising rapport between subject and artist. The woman appears again, full length, in cartoon 27, with a blanket wrapped around her.

Catlin describes the subject as having her hair cut off in mourning (1848 catalogue, p. 22).

Painted at Fort Union in 1832. The full, strong features and direct gaze indicate a surprising rapport between subject and artist. The woman appears again, full length, in cartoon 27 (NGA 1978), with a blanket wrapped around her.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Oo-je-en-a-he-a, Woman Who Lives in a Bear's Den Oó-je-en-á-he-a, Woman Who Lives in a Bear's Den George Catlin Object Crow/Apsaalooke Crow/Apsaalooke 1985_66_167 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at Fort Union in 1832. Red Bear appears again, full length, in cartoon 27 (NGA 1978).

Painted at Fort Union in 1832. Red Bear appears again, full length, in cartoon 27.

Painted at Fort Union in 1832. Red Bear appears again, full length, in cartoon 27 (NGA 1978).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Duhk-gits-o-o-see,Red Bear, a distinguished warrior Duhk-gits-o-ó-see, Red Bear, a Distinguished Warrior George Catlin Object 1985_66_168 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. I have also painted [Two Crows, the younger] . . . one of the most extraordinary men in the Crow nation; not only for his looks, from the form of his head, which seems to be distortion itself -and curtailed of all its fair proportions; but from his extraordinary sagacity as a counsellor and orator, even at an early stage of his life. There is something very uncommon in this outline, and sets forth the striking peculiarity of the Crow tribe, though rather in an exaggerated form. The semi-lunar outline of the Crow head, with an exceedingly low and retreating forehead, is certainly a very peculiar . . . characteristic . . . though not so strongly marked in most of the tribe as in the present instance" (Letters and Notes, vol. 1, p. 50, pl. 27). Painted at Fort Union in 1832. Note how simply, but firmly, Catlin establishes the planes of Two Crow's unorthodox skull structure. The subject also appears, full length, in cartoon 27 (NGA 1978).

“I have also painted [Two Crows, the younger] … one of the most extraordinary men in the Crow nation; not only for his looks, from the form of his head, which seems to be distortion itself—and curtailed of all its fair proportions; but from his extraordinary sagacity as a counsellor and orator, even at an early stage of his life.

“There is something very uncommon in this outline, and sets forth the striking peculiarity of the Crow tribe, though rather in an exaggerated form. The semi-lunar outline of the Crow head, with an exceedingly low and retreating forehead, is certainly a very peculiar … characteristic … though not so strongly marked in most of the tribe as in the present instance” (Letters and Notes, vol. 1, p. 50, pl. 27).

Painted at Fort Union in 1832. Note how simply, but firmly, Catlin establishes the planes of Two Crow's unorthodox skull structure.

The subject also appears, full length, in cartoon 27.

“I have also painted [Two Crows, the younger] … one of the most extraordinary men in the Crow nation; not only for his looks, from the form of his head, which seems to be distortion itself—and curtailed of all its fair proportions; but from his extraordinary sagacity as a counsellor and orator, even at an early stage of his life.

“There is something very uncommon in this outline, and sets forth the striking peculiarity of the Crow tribe, though rather in an exaggerated form. The semi-lunar outline of the Crow head, with an exceedingly low and retreating forehead, is certainly a very peculiar … characteristic … though not so strongly marked in most of the tribe as in the present instance” (Letters and Notes, vol. 1, p. 50, pl. 27).

Painted at Fort Union in 1832. Note how simply, but firmly, Catlin establishes the planes of Two Crow's unorthodox skull structure.

The subject also appears, full length, in cartoon 27 (NGA 1978).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pa-ris-ka-roo-pa, Two Crows, the younger Pa-ris-ka-roó-pa, Two Crows, the Younger George Catlin Object 1985_66_169 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject wears over his temples a pair of hair bows, decorated with beads imported from Venice in the 1830s by white traders on the Upper Missouri (Ewers, 1968). Painted at Fort Union in 1832. Very Sweet Man is supposed to appear again in cartoon 25 (formerly AMNH), but the designated figure is unrelated to the Smithsonian portrait (see no. 163).

The subject wears over his temples a pair of hair bows, decorated with beads imported from Venice in the 1830s by white traders on the Upper Missouri (Ewers, 1968).

Painted at Fort Union in 1832. Very Sweet Man is supposed to appear again in cartoon 25, but the designated figure is unrelated to the Smithsonian portrait.

The subject wears over his temples a pair of hair bows, decorated with beads imported from Venice in the 1830s by white traders on the Upper Missouri (Ewers, 1968).

Painted at Fort Union in 1832. Very Sweet Man is supposed to appear again in cartoon 25 (formerly AMNH), but the designated figure is unrelated to the Smithsonian portrait (see no. 163).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Bi-eets-ee-cure, Very Sweet Man Bi-éets-ee-cure, Very Sweet Man George Catlin Object 1985_66_17 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/9/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at the Sauk and Fox village in 1835 (see no. 16).

Probably painted at the Sauk and Fox village in 1835.

Probably painted at the Sauk and Fox village in 1835 (see no. 16).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). The Fire, a Fox medicine man Aih-no-wa,The Fire, a Fox Medicine Man George Catlin Object 1985_66_171 see previous 814 Catlin, George George Catlin 0 146 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The chief sachem of this tribe is a very ancient and patriarchal looking man . . . and counts, undoubtedly, more than an hundred snows. I have been for some days an inmate of his hospitable lodge, where he sits tottering with age, and silently reigns sole monarch of his little community around him, who are continually dropping in to cheer his sinking energies, and render him their homage. His voice and his sight are nearly gone; but the gestures of his hands are yet energetic and youthful, and freely speak the language of his kind heart. I have . . . painted his portrait as he was seated on the floor of his wigwam, smoking his pipe, whilst he was recounting over to me some of the extraordinary feats of his life, with a beautiful Crow robe wrapped around him, and his hair wound up in a conical form upon his head, and f astened with a small wooden pin, to keep it in its place. "This man has many distinct recollections of Lewis and Clark, who were the first explorers of this country, and who crossed the Rocky Mountains thirty years ago" (Letters and Notes, vol. 1, pp. 186–87, pl. 72). Painted at the Hidatsa village in 1832. The sightless attention of Black Moccasin's ancient head, and the shriveled body that supports it, are portrayed by Catlin with a deep sympathy for the chief's age and position. Although the artist committed his usual anatomical indiscretions in the process, Matthews says that the portrait was easily recognized by Black Moccasin's descendants. The Smithsonian and Gilcrease oils, and plate 72 in Letters and Notes, are almost identical; but the post on which the arms and ornaments hang has been left out of the Gilcrease watercolor, and the torso and blanket are badly drawn. Black Moccasin also appears, for some unexplained reason, in Interior of a Mandan Lodge, and in cartoon 34, surrounded by his family.

“The chief sachem of this tribe is a very ancient and patriarchal looking man … and counts, undoubtedly, more than an hundred snows. I have been for some days an inmate of his hospitable lodge, where he sits tottering with age, and silently reigns sole monarch of his little community around him, who are continually dropping in to cheer his sinking energies, and render him their homage. His voice and his sight are nearly gone; but the gestures of his hands are yet energetic and youthful, and freely speak the language of his kind heart.

“I have … painted his portrait as he was seated on the floor of his wigwam, smoking his pipe, whilst he was recounting over to me some of the extraordinary feats of his life, with a beautiful Crow robe wrapped around him, and his hair wound up in a conical form upon his head, and f astened with a small wooden pin, to keep it in its place.

“This man has many distinct recollections of Lewis and Clark, who were the first explorers of this country, and who crossed the Rocky Mountains thirty years ago” (Letters and Notes, vol. 1, pp. 186–87, pl. 72).

Painted at the Hidatsa village in 1832. The sightless attention of Black Moccasin's ancient head, and the shriveled body that supports it, are portrayed by Catlin with a deep sympathy for the chief's age and position. Although the artist committed his usual anatomical indiscretions in the process, Matthews says that the portrait was easily recognized by Black Moccasin's descendants.

The Smithsonian and Gilcrease oils, and plate 72 in Letters and Notes, are almost identical; but the post on which the arms and ornaments hang has been left out of the Gilcrease watercolor, and the torso and blanket are badly drawn.

Black Moccasin also appears, for some unexplained reason, in number 503 (Interior of a Mandan Lodge),, and in cartoon 34, surrounded by his family.

“The chief sachem of this tribe is a very ancient and patriarchal looking man … and counts, undoubtedly, more than an hundred snows. I have been for some days an inmate of his hospitable lodge, where he sits tottering with age, and silently reigns sole monarch of his little community around him, who are continually dropping in to cheer his sinking energies, and render him their homage. His voice and his sight are nearly gone; but the gestures of his hands are yet energetic and youthful, and freely speak the language of his kind heart.

“I have … painted his portrait as he was seated on the floor of his wigwam, smoking his pipe, whilst he was recounting over to me some of the extraordinary feats of his life, with a beautiful Crow robe wrapped around him, and his hair wound up in a conical form upon his head, and f astened with a small wooden pin, to keep it in its place.

“This man has many distinct recollections of Lewis and Clark, who were the first explorers of this country, and who crossed the Rocky Mountains thirty years ago” (Letters and Notes, vol. 1, pp. 186–87, pl. 72).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Eh-toh'k-pah-she-pee-shah, Black Moccasin, Aged Chief Eh-toh'k-pah-she-pée-shah, Black Moccasin, Aged Chief According to Catlin, Black Moccasin's long-stemmed pipe was a calumet, or peace pipe, "mutually smoked by the chiefs, after the terms of the treaty are agreed upon." Black Moccasin had been a chief when Lewis and Clark visited the Hidatsa village in the winter of 1804--05; Catlin reckoned he was 105 years old in 1832.

According to Catlin, Black Moccasin's long-stemmed pipe was a calumet, or peace pipe, "mutually smoked by the chiefs, after the terms of the treaty are agreed upon." Black Moccasin had been a chief when Lewis and Clark visited the Hidatsa village in the winter of 1804–05; Catlin reckoned he was 105 years old in 1832.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Hidatsa/Minitari Hidatsa/Minitari 1985_66_172 814 Catlin, George George Catlin 0 119 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The son of Black Moccasin . . . who is reputed one of the most desperate warriors of his tribe, I have also painted at full length, in his war-dress, with his bow in his hand, his quiver slung, and his shield upon his arm. In this plight, sans headdress, sans robe, and sans everything that might be an useless incumbrance -with the body chiefly naked, and profusely bedaubed with red and black paint, so as to form an almost perfect disguise, the Indian warriors invariably sally forth to war (Letters and Notes, vol. 1, p. 187, pl. 73). Painted at the Hidatsa village in 1832. The Gilcrease portrait is only three-quarter length, and Red Thunder's figure is weakly drawn (see no. 171). He appears again in cartoon 35 (NGA 2035), which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

“The son of Black Moccasin … who is reputed one of the most desperate warriors of his tribe, I have also painted at full length, in his war-dress, with his bow in his hand, his quiver slung, and his shield upon his arm. In this plight, sans headdress, sans robe, and sans everything that might be an useless incumbrance—with the body chiefly naked, and profusely bedaubed with red and black paint, so as to form an almost perfect disguise, the Indian warriors invariably sally forth to war” (Letters and Notes, vol. 1, p. 187, pl. 73).

Painted at the Hidatsa village in 1832. The Gilcrease portrait is only three-quarter length, and Red Thunder's figure is weakly drawn. He appears again in cartoon 35, which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

“The son of Black Moccasin … who is reputed one of the most desperate warriors of his tribe, I have also painted at full length, in his war-dress, with his bow in his hand, his quiver slung, and his shield upon his arm. In this plight, sans headdress, sans robe, and sans everything that might be an useless incumbrance—with the body chiefly naked, and profusely bedaubed with red and black paint, so as to form an almost perfect disguise, the Indian warriors invariably sally forth to war” (Letters and Notes, vol. 1, p. 187, pl. 73).

Painted at the Hidatsa village in 1832. The Gilcrease portrait is only three-quarter length, and Red Thunder's figure is weakly drawn (see no. 171). He appears again in cartoon 35 (NGA 2035), which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). E'e-achin-che-a, Red Thunder, son of Black Moccasin E'e-a chín-che-a, Red Thunder, Son of Black Moccasin At home a warrior might wear his victories on his sleeve in the form of scalp locks, but he went forth to gather such trophies wearing little more than a breechcloth and paint. Red Thunder also carries a shield of buffalo hide.

At home a warrior might wear his victories on his sleeve in the form of scalp locks, but he went forth to gather such trophies wearing little more than a breechcloth and paint. Red Thunder also carries a shield of buffalo hide.

George Catlin Object Hidatsa/Minitari Hidatsa/Minitari 1985_66_173 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject was dressed, according to Catlin, in "a handsome shirt, ornamented with ermine, and necklace of grisly bear's claws" (1848 catalogue, p. 22). Painted at the Hidatsa village in 1832. The portrait follows the style of the Sioux series (see no. 69). Karl Bodmer made two full-length watercolors of the subject a year and a half later (see Reuben Gold Thwaites, ed., Early Western Travels 1748-1846, pls. 50, 56). Catlin's portrait somewhat resembles the figure in plate 50.

The subject was dressed, according to Catlin, in “a handsome shirt, ornamented with ermine, and necklace of grisly bear's claws” (1848 catalogue, p. 22).

Painted at the Hidatsa village in 1832. The portrait follows the style of the Sioux series. Karl Bodmer made two full-length watercolors of the subject a year and a half later (see Reuben Gold Thwaites, ed., Early Western Travels 1740–1846, pls. 50, 56). Catlin's portrait somewhat resembles the figure in plate 50.

The subject was dressed, according to Catlin, in “a handsome shirt, ornamented with ermine, and necklace of grisly bear's claws” (1848 catalogue, p. 22).

Painted at the Hidatsa village in 1832. The portrait follows the style of the Sioux series (see no. 69). Karl Bodmer made two full-length watercolors of the subject a year and a half later (see Reuben Gold Thwaites, ed., Early Western Travels 1740–1846, pls. 50, 56). Catlin's portrait somewhat resembles the figure in plate 50.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pa-ris-ka-roo-pa, Two Crows, a chief Pa-ris-ka-roó-pa, Two Crows, a Chief George Catlin Object 1985_66_174 814 Catlin, George George Catlin 0 228 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at the Hidatsa village in 1832 (see no. 173).

Painted at the Hidatsa village in 1832.

Painted at the Hidatsa village in 1832 (see no. 173).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wife of Two Crows Wife of Two Crows George Catlin Object Hidatsa/Minitari Hidatsa/Minitari 1985_66_175 see previous 814 Catlin, George George Catlin 0 LW088 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Besides chiefs and warriors to be admired in this little tribe, there are many beautiful and voluptuous looking women, who are continually crowding in throngs, and gazing upon a stranger. The one whom I have painted is a descendant from the old chief; and though not the most beautiful, is yet a fair sample of them, and dressed in a beautiful costume of the mountain-sheep skin, handsomely garnished with porcupine quills and beads. This girl was almost compelled to stand for her picture by her relatives who urged her on, whilst she modestly declined, offering as her excuse that 'she was not pretty enough, and that her picture would be laughed at.' This was either ignorance or excessive art on her part; for she was more than comely" (Letters and Notes, vol. 1, pp. 187-88, pl. 74). Painted at the Hidatsa village in 1832. jewelry and costume details vary between the Gilcrease and Smithsonian portraits (see no. 151). The latter is identical to plate 74 in Letters and Notes, except for the earth lodges in the background, which are missing from the plate. Midday Sun also appears in cartoon 35 (NGA 2035), which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

“Besides chiefs and warriors to be admired in this little tribe, there are many beautiful and voluptuous looking women, who are continually crowding in throngs, and gazing upon a stranger.

“The one whom I have painted is a descendant from the old chief; and though not the most beautiful, is yet a fair sample of them, and dressed in a beautiful costume of the mountain-sheep skin, handsomely garnished with porcupine quills and beads. This girl was almost compelled to stand for her picture by her relatives who urged her on, whilst she modestly declined, offering as her excuse that ‘she was not pretty enough, and that her picture would be laughed at.’ This was either ignorance or excessive art on her part; for she was more than comely” (Letters and Notes, vol. 1, pp. 187–88, pl. 74).

Painted at the Hidatsa village in 1832. jewelry and costume details vary between the Gilcrease and Smithsonian portraits. The latter is identical to plate 74 in Letters and Notes, except for the earth lodges in the background, which are missing from the plate.

Midday Sun also appears in cartoon 35 , which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

“Besides chiefs and warriors to be admired in this little tribe, there are many beautiful and voluptuous looking women, who are continually crowding in throngs, and gazing upon a stranger.

“The one whom I have painted is a descendant from the old chief; and though not the most beautiful, is yet a fair sample of them, and dressed in a beautiful costume of the mountain-sheep skin, handsomely garnished with porcupine quills and beads. This girl was almost compelled to stand for her picture by her relatives who urged her on, whilst she modestly declined, offering as her excuse that ‘she was not pretty enough, and that her picture would be laughed at.’ This was either ignorance or excessive art on her part; for she was more than comely” (Letters and Notes, vol. 1, pp. 187–88, pl. 74).

Painted at the Hidatsa village in 1832. Jewelry and costume details vary between the Gilcrease and Smithsonian portraits (see no. 151). The latter is identical to plate 74 in Letters and Notes, except for the earth lodges in the background, which are missing from the plate.

Midday Sun also appears in cartoon 35 (NGA 2035), which is based on a watercolor (pl. 38) in the Gilcrease Souvenir album.

painting painting

Catlin describes Midday Sun, a young Hidatsa woman, as “a descendant from the old chief; and though not the most beautiful, is yet a fair sample of them, and dressed in a beautiful costume of the mountain-sheep skin, handsomely garnished with porcupine quills and beads. This girl was almost compelled to stand for her picture by her relatives who urged her on, whilst she modestly declined, offering as her excuse that ‘she was not pretty enough, and that her picture would be laughed at.’ This was either ignorance or excessive art on her part; for she was more than comely.” The Hidatsa tribe resides on Fort Berthold Reservation, North Dakota.

Catlin describes Midday Sun, a young Hidatsa woman, as "a descendant from the old chief; and though not the most beautiful, is yet a fair sample of them, and dressed in a beautiful costume of the mountain-sheep skin, handsomely garnished with porcupine quills and beads. This girl was almost compelled to stand for her picture by her relatives who urged her on, whilst she modestly declined, offering as her excuse that 'she was not pretty enough, and that her picture would be laughed at.' This was either ignorance or excessive art on her part; for she was more than comely." The Hidatsa tribe resides on Fort Berthold Reservation, North Dakota. Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Seet-sa-be-a, Midday Sun, a pretty girl Seet-sé-be-a, Midday Sun, a Pretty Girl George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art 1985_66_176 814 Catlin, George George Catlin 0 222 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject wears over his temples a pair of "hair pipes," Bahamian conch shell ornaments distributed in the 1830s by white traders on the Upper Missouri (Ewers, 1968). Painted in St. Louis in 1831 (Ewers, 1968). Donaldson's date is incorrect. Broken Arm accompanied The Light on his ill- fated journey to Washington (see nos. 179, 474). The subject appears again, full length, in cartoon 76 (NGA 2082), with his wife and child.

The subject wears over his temples a pair of “hair pipes,” Bahamian conch shell ornaments distributed in the 1830s by white traders on the Upper Missouri (Ewers, 1968).

Painted in St. Louis in 1831 (Ewers, 1968). Donaldson's date is incorrect. Broken Arm accompanied The Light on his ill-fated journey to Washington.

The subject appears again, full length, in cartoon 76, with his wife and child.

The subject wears over his temples a pair of “hair pipes,” Bahamian conch shell ornaments distributed in the 1830s by white traders on the Upper Missouri (Ewers, 1968).

Painted in St. Louis in 1831 (Ewers, 1968). Donaldson's date is incorrect. Broken Arm accompanied The Light on his ill-fated journey to Washington (see nos. 179, 474).

The subject appears again, full length, in cartoon 76 (NGA 2082), with his wife and child.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Eeh-tow-wees-ka-zeet, He Who Has Eyes Behind Him (also known as Broken Arm), a foremost brave Eeh-tow-wées-ka-zeet, He Who Has Eyes Behind Him (also known as Broken Arm), a Foremost Brave George Catlin Object Plains Cree 1985_66_177 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as a "full length portrait of a young woman with a child on her back, showing fairly the fashion of cutting and ornamenting the dresses of the females in this tribe" (Letters and Notes, vol. 1, pp. 57-58, pl. 33). Painted at Fort Union in 1832. Catlin mistakenly labels a small boy in cartoon 76 as Great Wonder, son of Broken Arm (no. 176). The incorrect identification of cartoon figures has been frequently noted (see nos. 89, 116).

Described by Catlin as a “full length portrait of a young woman with a child on her back, showing fairly the fashion of cutting and ornamenting the dresses of the females in this tribe” (Letters and Notes, vol. 1, pp. 50–58, pl. 33).

Painted at Fort Union in 1832. Catlin mistakenly labels a small boy in cartoon 76 as Great Wonder, son of Broken Arm. The incorrect identification of cartoon figures has been frequently noted.

Described by Catlin as a “full length portrait of a young woman with a child on her back, showing fairly the fashion of cutting and ornamenting the dresses of the females in this tribe” (Letters and Notes, vol. 1, pp. 50–58, pl. 33).

Painted at Fort Union in 1832. Catlin mistakenly labels a small boy in cartoon 76 as Great Wonder, son of Broken Arm (no. 176). The incorrect identification of cartoon figures has been frequently noted (see nos. 89, 116).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tsee-mount, Great Wonder, carrying her baby in her robe Tsee-moúnt, Great Wonder, Carrying Her Baby in Her Robe George Catlin Object 1985_66_178 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/9/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Painted at Fort Union in 1832. The subject's name has been changed in cartoon 76 (NGA 2082), where she appears as the wife of Broken Arm (no. 176).

Painted at Fort Union in 1832. The subject's name has been changed in cartoon 76, where she appears as the wife of Broken Arm.

Painted at Fort Union in 1832. The subject's name has been changed in cartoon 76 (NGA 2082), where she appears as the wife of Broken Arm (no. 176).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tow-Že-ka-wet, a Cree woman Tow-Že-ka-wet, a Cree woman George Catlin Object 1985_66_179 814 Catlin, George George Catlin 0 154 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1831 1831 George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Wi-jun-jon [The Light] . . . appeared as sullen as death in my painting-room -with eyes fixed like those of a statue, upon me, though his pride had plumed and tinted him in all the freshness and brilliancy of an Indian's toilet. In his nature's uncowering pride he stood a perfect model; but superstition had hung a lingering curve upon his lip, and pride had stiffened it into contempt. . . . He was dressed in his native costume, which was classic and exceedingly beautiful; his leggings and shirt were of the mountain-goat skin, richly garnished with quills of the porcupine, and fringed with locks of scalps, taken from his enemies' heads. Over these floated his long hair in plaits, that fell nearly to the ground" (Letters and Notes, vol. 1, pp. 55-57, pl. 28; vol. 2, p. 196). See number 474 for additional biographical information. Painted in St. Louis in the fall of 1831, when The Light was enroute to Washington. Donaldson's date is incorrect. Ewers (1956) comments on the accuracy with which Catlin reproduced the three-row quillwork design on the subject's sleeve. The rendering of detail does seem more certain in this portrait than in the 1830 series (nos. 237-55), and the firm modeling of the subject's head marks a progression toward the style of Upper Missouri portraits (see no. 69). The Light was painted by Charles Bird King in Washington (see Parke-Bernet catalogue), and he appears again, full length, in cartoon 75 (NGA 1990), with his wife and children.

“Wi-jun-jon [The Light] … appeared as sullen as death in my painting-room—with eyes fixed like those of a statue, upon me, though his pride had plumed and tinted him in all the freshness and brilliancy of an Indian's toilet. In his nature's uncowering pride he stood a perfect model; but superstition had hung a lingering curve upon his lip, and pride had stiffened it into contempt.…

“He was dressed in his native costume, which was classic and exceedingly beautiful; his leggings and shirt were of the mountain-goat skin, richly garnished with quills of the porcupine, and fringed with locks of scalps, taken from his enemies' heads. Over these floated his long hair in plaits, that fell nearly to the ground” (Letters and Notes, vol. 1, pp. 50–57, pl. 28; vol. 2, p. 196).

See number 474 for additional biographical information.

Painted in St. Louis in the fall of 1831, when The Light was enroute to Washington. Donaldson's date is incorrect. Ewers (1956) comments on the accuracy with which Catlin reproduced the three-row quillwork design on the subject's sleeve. The rendering of detail does seem more certain in this portrait than in the 1830 series, and the firm modeling of the subject's head marks a progression toward the style of Upper Missouri portraits. The Light was painted by Charles Bird King in Washington (see Parke-Bernet catalogue), and he appears again, full length, in cartoon 75, with his wife and children.

“Wi-jun-jon [The Light] … appeared as sullen as death in my painting-room—with eyes fixed like those of a statue, upon me, though his pride had plumed and tinted him in all the freshness and brilliancy of an Indian's toilet. In his nature's uncowering pride he stood a perfect model; but superstition had hung a lingering curve upon his lip, and pride had stiffened it into contempt.…

“He was dressed in his native costume, which was classic and exceedingly beautiful; his leggings and shirt were of the mountain-goat skin, richly garnished with quills of the porcupine, and fringed with locks of scalps, taken from his enemies' heads. Over these floated his long hair in plaits, that fell nearly to the ground” (Letters and Notes, vol. 1, pp. 50–57, pl. 28; vol. 2, p. 196).

See number 474 for additional biographical information.

Painted in St. Louis in the fall of 1831, when The Light was enroute to Washington. Donaldson's date is incorrect. Ewers (1956) comments on the accuracy with which Catlin reproduced the three-row quillwork design on the subject's sleeve. The rendering of detail does seem more certain in this portrait than in the 1830 series (nos. 230–55), and the firm modeling of the subject's head marks a progression toward the style of Upper Missouri portraits (see no. 69). The Light was painted by Charles Bird King in Washington (see Parke-Bernet catalogue), and he appears again, full length, in cartoon 75 (NGA 1990), with his wife and children.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wi-jun-jon, Pigeon's Egg Head (The Light), a distinguished warrior Wi-jún-jon, Pigeon's Egg Head (The Light), a Distinguished Young Warrior Catlin painted Pigeon's Egg Head twice. The Assiniboine warrior, en route to Washington to meet President Jackson and view the wonders of civilization, arrived for his first sitting in St. Louis in December 1831, beautifully "plumed and tinted," but looking "as sullen as death," as if already conscious of his grim fate.

Catlin painted Pigeon's Egg Head twice. The Assiniboine warrior, en route to Washington to meet President Jackson and view the wonders of civilization, arrived for his first sitting in St. Louis in December 1831, beautifully "plumed and tinted," but looking "as sullen as death," as if already conscious of his grim fate.

George Catlin Object Assiniboine/Nakoda Assiniboine/Nakoda 1985_66_18 814 Catlin, George George Catlin 0 317 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. This man held a spear in his hand when he was being painted, with which he assured me he killed four white men during the war; though I have some doubts of the fact (Letters and Notes, vol. 2, p. 211, pl. 286). Sturgeon's Head was one of Black Hawk's principal warriors. Painted at Jefferson Barracks in October 1832 (see no. 2). The carefully described ear pendants in the Smithsonian portrait, which match those in plate 286 of Letters and Notes, are repeated only in cursory form in the Chicago version (see no. 3). The original portrait is also distinguished by simplified oval contours, which Catlin has transformed into a striking classical bust.

“This man held a spear in his hand when he was being painted, with which he assured me he killed four white men during the war; though I have some doubts of the fact” (Letters and Notes, vol. 2, p. 211, pl. 286).

Sturgeon's Head was one of Black Hawk's principal warriors.

Painted at Jefferson Barracks in October 1832. The carefully described ear pendants in the Smithsonian portrait, which match those in plate 286 of Letters and Notes, are repeated only in cursory form in the Chicago version. The original portrait is also distinguished by simplified oval contours, which Catlin has transformed into a striking classical bust.

“This man held a spear in his hand when he was being painted, with which he assured me he killed four white men during the war; though I have some doubts of the fact” (Letters and Notes, vol. 2, p. 211, pl. 286).

Sturgeon's Head was one of Black Hawk's principal warriors.

Painted at Jefferson Barracks in October 1832 (see no. 2). The carefully described ear pendants in the Smithsonian portrait, which match those in plate 286 of Letters and Notes, are repeated only in cursory form in the Chicago version (see no. 3). The original portrait is also distinguished by simplified oval contours, which Catlin has transformed into a striking classical bust.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wee-sheet, Sturgeon's Head, a Fox warrior Wée-sheet, Sturgeon's Head, a Fox Warrior George Catlin Object Sac and Fox Sac and Fox 1985_66_180 814 Catlin, George George Catlin 0 215 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. A fine looking squaw, in a handsome dress of the mountain-sheep skin, holding in her hand a stick curiously carved, with which every woman in this country is supplied; for the purpose of digging up the . . . prairie turnip (Letters and Notes, vol. 1, p. 56, pl. 29). Painted at Fort Union in 1832. The subject appears again, full length, in cartoon 75 (NGA 1990), with her husband (no. 179).

“A fine looking squaw, in a handsome dress of the mountain-sheep skin, holding in her hand a stick curiously carved, with which every woman in this country is supplied; for the purpose of digging up the … prairie turnip” (Letters and Notes, vol. 1, p. 56, pl. 29).

Painted at Fort Union in 1832. The subject appears again, full length, in cartoon 75, with her husband.

“A fine looking squaw, in a handsome dress of the mountain-sheep skin, holding in her hand a stick curiously carved, with which every woman in this country is supplied; for the purpose of digging up the … prairie turnip” (Letters and Notes, vol. 1, p. 56, pl. 29).

Painted at Fort Union in 1832. The subject appears again, full length, in cartoon 75 (NGA 1990), with her husband (no. 179).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Fire Bug that Creeps, wife of The Light Chin-cha-pee, Fire Bug that Creeps, Wife of The Light George Catlin Object Assiniboine/Nakoda Assiniboine/Nakoda 1985_66_181 814 Catlin, George George Catlin 0 102 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/26/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The women of this tribe are often comely, and sometimes pretty; in plate 34, will be seen a fair illustration of the dresses of the women and children, which are usually made of the skins of the mountain-goat, and ornamented with porcupine's quills and rows of elk's teeth (Letters and Notes, vol. 1, p. 57, pl. 34). Painted at Fort Union in 1832. Although number 159 is a notable exception, Catlin's small children often look like shrunken adults. The Field Museum and Smithsonian portraits are alike, except for the seated child and skin lodges in the background of the latter (see no. 3). That same background is repeated in plate 34 of Letters and Notes.

“The women of this tribe are often comely, and sometimes pretty; in plate 34, will be seen a fair illustration of the dresses of the women and children, which are usually made of the skins of the mountain-goat, and ornamented with porcupine's quills and rows of elk's teeth” (Letters and Notes, vol. 1, p. 57, pl. 34).

Painted at Fort Union in 1832. Although number 159 is a notable exception, Catlin's small children often look like shrunken adults. The Field Museum and Smithsonian portraits are alike, except for the seated child and skin lodges in the background of the latter. That same background is repeated in plate 34 of Letters and Notes.

“The women of this tribe are often comely, and sometimes pretty; in plate 34, will be seen a fair illustration of the dresses of the women and children, which are usually made of the skins of the mountain-goat, and ornamented with porcupine's quills and rows of elk's teeth” (Letters and Notes, vol. 1, p. 57, pl. 34).

Painted at Fort Union in 1832. Although number 159 is a notable exception, Catlin's small children often look like shrunken adults. The Field Museum and Smithsonian portraits are alike, except for the seated child and skin lodges in the background of the latter (see no. 3). That same background is repeated in plate 34 of Letters and Notes.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Assiniboine woman and child Assiniboine Woman and Child George Catlin Object Assiniboine/Nakoda Assiniboine/Nakoda 1985_66_182 see previous 814 Catlin, George George Catlin 0 113 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The chief of that part of the Ojibbeway tribe who inhabit these northern regions . . . is a man of huge size; with dignity of manner, and pride and vanity, just about in proportion to his bulk. He sat for his portrait in a most beautiful dress, fringed with scalp locks in profusion; which he had snatched, in his early life from his enemies' heads, and now wears as proud trophies and proofs of what his arm has accomplished in battles with his enemies. His shirt of buckskin is beautifully embroidered and painted in curious hieroglyphics, the history of his battles and charts of his life (Letters and Notes, vol. 1, p. 58, pl. 35). The Six wears a pair of "hair pipes" over his temples. Painted at Fort Union in 1832. The strongly modeled features of The Six remind one of the portraits of Horse Chief and The Surrounder, other outstanding examples from the Upper Missouri series. The Six's expression in the Field Museum version is bland by comparison, although his costume seems to have been reproduced with comparable detail. An inscription by the artist on the stretcher of the Field Museum version names the sitter as He Who Walks on the Sea, but all of Catlin's publications confirm the present identification. The inscription does suggest, however, that Catlin was still delivering portraits to O'Fallon in 1835, the year in which he is supposed to have painted number 190. The Six also appears, full length, in cartoon 12, with his wife and children.

“The chief of that part of the Ojibbeway tribe who inhabit these northern regions … is a man of huge size; with dignity of manner, and pride and vanity, just about in proportion to his bulk. He sat for his portrait in a most beautiful dress, fringed with scalp locks in profusion; which he had snatched, in his early life from his enemies' heads, and now wears as proud trophies and proofs of what his arm has accomplished in battles with his enemies. His shirt of buckskin is beautifully embroidered and painted in curious hieroglyphics, the history of his battles and charts of his life” (Letters and Notes, vol. 1, p. 58, pl. 35).

The Six wears a pair of “hair pipes” over his temples.

Painted at Fort Union in 1832. The strongly modeled features of The Six remind one of the portraits of Horse Chief and The Surrounder, other outstanding examples from the Upper Missouri series. The Six's expression in the Field Museum version is bland by comparison, although his costume seems to have been reproduced with comparable detail.

An inscription by the artist on the stretcher of the Field Museum version names the sitter as He Who Walks on the Sea, but all of Catlin's publications confirm the present identification. The inscription does suggest, however, that Catlin was still delivering portraits to O'Fallon in 1835, the year in which he is supposed to have painted number 190.

The Six also appears, full length, in cartoon 12, with his wife and children.

“The chief of that part of the Ojibbeway tribe who inhabit these northern regions … is a man of huge size; with dignity of manner, and pride and vanity, just about in proportion to his bulk. He sat for his portrait in a most beautiful dress, fringed with scalp locks in profusion; which he had snatched, in his early life from his enemies' heads, and now wears as proud trophies and proofs of what his arm has accomplished in battles with his enemies. His shirt of buckskin is beautifully embroidered and painted in curious hieroglyphics, the history of his battles and charts of his life” (Letters and Notes, vol. 1, p. 58, pl. 35).

The Six wears a pair of “hair pipes” over his temples.

Painted at Fort Union in 1832. The strongly modeled features of The Six remind one of the portraits of Horse Chief and The Surrounder, other outstanding examples from the Upper Missouri series. The Six's expression in the Field Museum version is bland by comparison, although his costume seems to have been reproduced with comparable detail.

An inscription by the artist on the stretcher of the Field Museum version names the sitter as He Who Walks on the Sea, but all of Catlin's publications confirm the present identification. The inscription does suggest, however, that Catlin was still delivering portraits to O'Fallon in 1835, the year in which he is supposed to have painted number 190.

The Six also appears, full length, in cartoon 12, with his wife and children.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Sha-co-pay, The Six, Chief of the Plains Ojibwa Sha-có-pay, The Six, Chief of the Plains Ojibwa Catlin has been criticized for depicting Indians in their "Sunday best" rather than their everyday clothing. But his sitters probably wanted to be recorded in their finest dress, especially since it might also convey their achievements. The Six sat for his portrait in "a most beautiful dress, fringed with scalp locks in profusion . . . and now wears as proud trophies and proofs of what his arm has accomplished in battles with his enemies. His shirt of buckskin is beautifully embroidered and painted in curious hieroglyphics, the history of his battles and charts of his life."

Catlin has been criticized for depicting Indians in their "Sunday best" rather than their everyday clothing. But his sitters probably wanted to be recorded in their finest dress, especially since it might also convey their achievements. The Six sat for his portrait in "a most beautiful dress, fringed with scalp locks in profusion…and now wears as proud trophies and proofs of what his arm has accomplished in battles with his enemies. His shirt of buckskin is beautifully embroidered and painted in curious hieroglyphics, the history of his battles and charts of his life."

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Plains Ojibwe/Plains Chippewa Plains Ojibwe/Plains Chippewa 1985_66_183 814 Catlin, George George Catlin 0 242 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a beautiful young woman pulling her hair out of braid" (1848 catalogue, p. 23). Painted at Fort Union in 1832, and one of Catlin's first attempts at facial expression in an Indian portrait. The smile, somewhat forced, but engagingly shy and self-conscious, is an indication of the artist's growing perception of individual qualities among subjects whose appearance had not been critically examined before.

Described by Catlin as “a beautiful young woman pulling her hair out of braid” (1848 catalogue, p. 23).

Painted at Fort Union in 1832, and one of Catlin's first attempts at facial expression in an Indian portrait. The smile, somewhat forced, but engagingly shy and self-conscious, is an indication of the artist's growing perception of individual qualities among subjects whose appearance had not been critically examined before.

Described by Catlin as “a beautiful young woman pulling her hair out of braid” (1848 catalogue, p. 23).

Painted at Fort Union in 1832, and one of Catlin's first attempts at facial expression in an Indian portrait. The smile, somewhat forced, but engagingly shy and self-conscious, is an indication of the artist's growing perception of individual qualities among subjects whose appearance had not been critically examined before.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kay-a-g’s-gis, a young woman Kay-a-gís-gis, a Young Woman George Catlin Object Plains Ojibwe/Plains Chippewa Plains Ojibwe/Plains Chippewa 1985_66_184 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835-1836 1835–36 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a brave, with his war-club in his hand" (1848 catalogue, p. 24). Painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836.

Described by Catlin as “a brave, with his war-club in his hand” (1848 catalogue, p. 24).

Painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836.

Described by Catlin as “a brave, with his war-club in his hand” (1848 catalogue, p. 24).

Painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Hah-je-day-ah'-shee, Meeting Birds, a brave Háh-je-day-ah'-shee, Meeting Birds, a Brave George Catlin Object 1985_66_186 see previous 814 Catlin, George George Catlin 0 106 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/26/02 29 x 24 29 x 24 in. 1835 1835 in CAT George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "the portrait of a Chippeway woman . . . "with her child in its crib or cradle . . . [the umbilicus] hanging before the child's face for its supernatural protector. "The woman's dress was mostly made of civilized manufactures, but curiously decorated and ornamented according to Indian taste" (Letters and Notes, vol. 2, p. 139, pl. 245).

Described by Catlin as “the portrait of a Chippeway woman … with her child in its crib or cradle … [the umbilicus] hanging before the child's face for its supernatural protector.

“The woman's dress was mostly made of civilized manufactures, but curiously decorated and ornamented according to Indian taste” (Letters and Notes, vol. 2, p. 139, pl. 245).

Described by Catlin as “the portrait of a Chippeway woman … with her child in its crib or cradle … [the umbilicus] hanging before the child's face for its supernatural protector.

“The woman's dress was mostly made of civilized manufactures, but curiously decorated and ornamented according to Indian taste” (Letters and Notes, vol. 2, p. 139, pl. 245).

painting painting Another thing that I like about these paintings is, unlike most painters, Catlin painted many women and many children, often together. He wasn't dealing strictly with the male warrior. George P. Horse Capture, Gros Ventre/A'aninin Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ju-ah-kis-gaw, Woman with her Child in a Cradle Jú-ah-kís-gaw, Woman with Her Child in a Cradle In 1835, after his visit to Oklahoma, Catlin journeyed up the Mississippi by steamer from New Orleans to Fort Snelling, Minnesota, bringing his wife Clara on a western "tour" for the first and only time. Tribes of the Upper Mississippi and Great Lakes region such as the Ojibwe had been increasingly jostled by European traders, war, and U.S. expansion since the eighteenth century. Well before Catlin's arrival, they had incorporated woven cloth and elaborate beadwork into their dress.

In 1835, after his visit to Oklahoma, Catlin journeyed up the Mississippi by steamer from New Orleans to Fort Snelling, Minnesota, bringing his wife Clara on a western "tour" for the first and only time. Tribes of the Upper Mississippi and Great Lakes region such as the Ojibwe had been increasingly jostled by European traders, war, and U.S. expansion since the eighteenth century. Well before Catlin's arrival, they had incorporated woven cloth and elaborate beadwork into their dress.

21 George Catlin ResourceText San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Ojibwe/Chippewa Ojibwe/Chippewa 1985_66_188 814 Catlin, George George Catlin 0 241 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as a "portrait of a warrior ... with his pipe in his hand" (Letters and Notes, vol. 2, p. 139, pl. 244). Painted at Fort Snelling in 1835 (see no. 186). The Ottoway supposedly appears again in cartoon 11 (NGA 2050), but Catlin apparently mislabeled the figure (see no. 187).

Described by Catlin as a "portrait of a warrior … with his pipe in his hand" (Letters and Notes, vol. 2, p. 139, pl. 244).

Painted at Fort Snelling in 1835 (see Jú-ah-kis-gaw, Woman with her Child in a Cradle acc. no. 1985.66.186). The Ottoway supposedly appears again in cartoon 11 (NGA 2050), but Catlin apparently mislabeled the figure (see He Who Sits Everywhere, a Brave, acc. no. 1985.66.187).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). O-ta-wah, The Ottaway, a Warrior O-tá-wah, The Ottaway, a Warrior George Catlin Object Ojibwe/Chippewa Ojibwe/Chippewa 1985_66_19_21 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/9/02 29 x 24 in. 29 x 24 in. 1837-1839? about 1837–39 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was finished during the interval (see no. 147).

The painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was finished during the interval.

The painting is not listed in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, perhaps indicating that it was finished during the interval (see no. 147).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Three Fox Indians Three Fox Indians George Catlin Object 1985_66_192 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1836 1836 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The subject is described by Catlin as "civilized" (1848 catalogue, p. 24). Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files (see Donaldson). In the Gilcrease watercolor (illustration 192a), the subject is half-length, his shirt is plain, he wears no necklaces, and his features, though firmly modeled, differ somewhat from those in the Smithsonian portrait. The former may also be a life study, but the dates on the watercolors cannot be trusted (see no. 46).

The subject is described by Catlin as “civilized” (1848 catalogue, p. 24).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files (see Donaldson).

In the Gilcrease watercolor (illustration 192a), the subject is half-length, his shirt is plain, he wears no necklaces, and his features, though firmly modeled, differ somewhat from those in the Smithsonian portrait. The former may also be a life study, but the dates on the watercolors cannot be trusted.

The subject is described by Catlin as “civilized” (1848 catalogue, p. 24).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files (see Donaldson).

In the Gilcrease watercolor (illustration 192a), the subject is half-length, his shirt is plain, he wears no necklaces, and his features, though firmly modeled, differ somewhat from those in the Smithsonian portrait. The former may also be a life study, but the dates on the watercolors cannot be trusted (see no. 46).

painting painting Gaw-zaw-que-dung, He Who Halloes Gaw-záw-que-dung, He Who Halloes George Catlin Object 1985_66_193 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/9/02 29 x 24 in. 29 x 24 in. 1836 1836 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a young man of distinction, in an extravagant and beautiful costume" (Letters and Notes, vol. 2, p. 162, pl. 268). Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. The Gilcrease and Smithsonian portraits are identical, except for bracelets and body paint designs, in which the latter matches plate 268 of Letters and Notes (see no. 151). The Crow appears again in cartoon 10 (NGA 2049).

Described by Catlin as “a young man of distinction, in an extravagant and beautiful costume” (Letters and Notes, vol. 2, p. 162, pl. 268).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. The Gilcrease and Smithsonian portraits are identical, except for bracelets and body paint designs, in which the latter matches plate 268 of Letters and Notes.

The Crow appears again in cartoon 10.

Described by Catlin as “a young man of distinction, in an extravagant and beautiful costume” (Letters and Notes, vol. 2, p. 162, pl. 268).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. The Gilcrease and Smithsonian portraits are identical, except for bracelets and body paint designs, in which the latter matches plate 268 of Letters and Notes (see no. 151).

The Crow appears again in cartoon 10 (NGA 2049).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). The Crow, a dandy O'n-daig, The Crow, a Dandy George Catlin Object 1985_66_194 see previous 814 Catlin, George George Catlin 0 LW086 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/1/02 29 x 24 in. 29 x 24 in. 1836 1836 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "a brave, with a war-club in his hand" (1848 catalogue, p. 24). Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. Male Caribou supposedly appears again in cartoon 10, but the designated figure bears no resemblance to the Smithsonian painting.

Described by Catlin as “a brave, with a war-club in his hand” (1848 catalogue, p. 24).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. Male Caribou supposedly appears again in cartoon 10, but the designated figure bears no resemblance to the Smithsonian painting.

Described by Catlin as “a brave, with a war-club in his hand” (1848 catalogue, p. 24).

Painted from life in the presence of James L. Schoolcraft at Sault Ste. Marie in 1836, according to an original certificate in Smithsonian files. Male Caribou supposedly appears again in cartoon 10, but the designated figure bears no resemblance to the Smithsonian painting.

painting painting

This portrait was painted from life at Sault Ste. Marie, located between Lake Superior and Lake Huron, during Catlin's only visit there in 1836. Despite the obvious interest Catlin took in rendering the decorated shirt, war club, and feathered turban-style headdress, this warrior's direct gaze is what holds our attention. Catlin's portraits show the Plains Indians as distinct individuals with profound humanity.

This portrait was painted from life at Sault Ste. Marie, located between Lake Superior and Lake Huron, during Catlin's only visit there in 1836. Despite the obvious interest Catlin took in rendering the decorated shirt, war club, and feathered turban-style headdress, this warrior's direct gaze is what holds our attention. Catlin's portraits show the Plains Indians as distinct individuals with profound humanity Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Male Caribou, a brave I-an-be-w'ah-dick, Male Caribou, a Brave George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art 1985_66_195 814 Catlin, George George Catlin 0 105 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/26/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Not the most agreeable of The Six's several wives, according to Catlin (Letters and Notes, vol. 1, p. 58, pl. 36). Painted at Fort Union in 1832. Donaldson must not have realized that the subject was the wife of a Plains Ojibwa. Catlin made few compromises in representing the blunt, heavy features and powerful contours of this woman's superbly aboriginal head. Such studies among the more civilized eastern tribes, whom he painted three or four years later, are rare (see nos. 184-94). The subject appears again, full length, in cartoon 12 (NGA 2051), with her husband (no. 182).

“Not the most agreeable” of The Six's several wives, according to Catlin (Letters and Notes, vol. 1, p. 58, pl. 36).

Painted at Fort Union in 1832. Donaldson must not have realized that the subject was the wife of a Plains Ojibwa. Catlin made few compromises in representing the blunt, heavy features and powerful contours of this woman's superbly aboriginal head. Such studies among the more civilized eastern tribes, whom he painted three or four years later, are rare.

The subject appears again, full length, in cartoon 12, with her husband.

“Not the most agreeable” of The Six's several wives, according to Catlin (Letters and Notes, vol. 1, p. 58, pl. 36).

Painted at Fort Union in 1832. Donaldson must not have realized that the subject was the wife of a Plains Ojibwa. Catlin made few compromises in representing the blunt, heavy features and powerful contours of this woman's superbly aboriginal head. Such studies among the more civilized eastern tribes, whom he painted three or four years later, are rare (see nos. 180–94).

The subject appears again, full length, in cartoon 12 (NGA 2051), with her husband (no. 182).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wife of the Six Wife of The Six George Catlin Object Plains Ojibwe/Plains Chippewa Plains Ojibwe/Plains Chippewa 1985_66_196 814 Catlin, George George Catlin 0 230 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1835-1836 1835–36 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Of this tribe I have painted but one. . . . This was an excellent man, and was handsomely dressed for his picture. . . . He seemed to be quite ignorant of the early history of his tribe, as well as of the position and condition of its few scattered remnants, who are yet in existence. . . . though he was an Iroquois, which he was proud to acknowledge to me. . . he wished it to be generally thought, that he was a Chippeway (Letters and Notes, vol. 2, p. 107, pl. 206). Probably painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836, as Catlin seems to imply that the subject was living with the Ojibwa. Furthermore, the relaxed stance and costume of the figure are similar to several portraits in the Ojibwa series (see nos. 18 7, 189, 193), and the painting follows that series in numerical sequence in both the 1837 and 1848 catalogues. Donaldson's date of 1831 must again be based on Catlin's fictitious itinerary (see nos. 99, 3 1). N—t-to-way also appears as An Iroquois in plate I of Catlin's North American Indian Portfolio, first published in 1844, and in cartoon 3 (NGA 2047), with his wife (no. 197) and an Iroquois warrior, although Catlin said he painted only one member of the tribe. The original version of the cartoon figure is in the Gilcrease Souvenir album (pl. 32).

“Of this tribe I have painted but one. … This was an excellent man, and was handsomely dressed for his picture. … He seemed to be quite ignorant of the early history of his tribe, as well as of the position and condition of its few scattered remnants, who are yet in existence. … though he was an Iroquois, which he was proud to acknowledge to me … he wished it to be generally thought, that he was a Chippeway” (Letters and Notes, vol. 2, p. 107, pl. 206).

Probably painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836, as Catlin seems to imply that the subject was living with the Ojibwa. Furthermore, the relaxed stance and costume of the figure are similar to several portraits in the Ojibwa series, and the painting follows that series in numerical sequence in both the 1837 and 1848 catalogues. Donaldson's date of 1831 must again be based on Catlin's fictitious itinerary.

Nót-to-way also appears as An Iroquois in plate 1 of Catlin's North American Indian Portfolio, first published in 1844, and in cartoon 3 , with his wife and an Iroquois warrior, although Catlin said he painted only one member of the tribe. The original version of the cartoon figure is in the Gilcrease Souvenir album (pl. 32).

“Of this tribe I have painted but one. … This was an excellent man, and was handsomely dressed for his picture. … He seemed to be quite ignorant of the early history of his tribe, as well as of the position and condition of its few scattered remnants, who are yet in existence. … though he was an Iroquois, which he was proud to acknowledge to me … he wished it to be generally thought, that he was a Chippeway” (Letters and Notes, vol. 2, p. 107, pl. 206).

Probably painted at Fort Snelling in 1835, or near Sault Ste. Marie in 1836, as Catlin seems to imply that the subject was living with the Ojibwa. Furthermore, the relaxed stance and costume of the figure are similar to several portraits in the Ojibwa series (see nos. 187, 189, 193), and the painting follows that series in numerical sequence in both the 1837 and 1848 catalogues. Donaldson's date of 1831 must again be based on Catlin's fictitious itinerary (see nos. 99, 31).

Nót-to-way also appears as An Iroquois in plate 1 of Catlin's North American Indian Portfolio, first published in 1844, and in cartoon 3 (NGA 2047), with his wife (no. 197) and an Iroquois warrior, although Catlin said he painted only one member of the tribe. The original version of the cartoon figure is in the Gilcrease Souvenir album (pl. 32).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). N—t-to-way, a chief N—t-to-way, a Chief George Catlin Object Iroquois/Haudensaunee Iroquois/Haudensaunee 1985_66_197 814 Catlin, George George Catlin 0 231 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835-1836 1835–36 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. See number 196 for explanation of the date. Catlin describes in detail similar cradles among the Eastern Sioux and Ojibwa (see no. 186). The subject supposedly appears again in cartoon 3 (NGA 204 7), but the designated figure bears no resemblance to the Smithsonian painting.

See number 196 for explanation of the date. Catlin describes in detail similar cradles among the Eastern Sioux and Ojibwa. The subject supposedly appears again in cartoon 3, but the designated figure bears no resemblance to the Smithsonian painting.

See number 196 for explanation of the date. Catlin describes in detail similar cradles among the Eastern Sioux and Ojibwa (see no. 186). The subject supposedly appears again in cartoon 3 (NGA 2047), but the designated figure bears no resemblance to the Smithsonian painting.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Chee-ah-ka-tchee, wife of Not-to-way Chée-ah-ká-tchée, wife of Nót-to-way George Catlin Object Iroquois/Haudensaunee Iroquois/Haudensaunee 1985_66_198 see previous 814 Catlin, George George Catlin 0 157 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 29 x 24 in. ca. 1836 about 1836 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin describes Big Sail as "blind in one eye. The effects of whiskey and civilization are plainly discernible in this instance" (1848 catalogue, p. 24). Donaldson and Ewers maintain that the portrait was painted during a visit to Niagara Falls. The former thinks the visit occurred in 1831, and the latter, in the winter of 1829–30; but Catlin's circuit of 1831 was apparently limited to St. Louis, Philadelphia, Albany, and Great Bend, Pennsylvania, and during the winter of 1829–30 he stayed in Washington and Richmond. In the absence of other evidence, it seems safer to assume that the portrait was painted at Mackinac in 1836, where a remnant of the Ottawa tribe remained, interspersed among the Ojibwa. It is more likely, too, that such a perceptive and sympathetic response to Indian dissipation would have come at the end of Catlin's travels. In 1830 and 1831, his sustaining ambition was to paint those tribes untouched by the effects of civilization.

Catlin describes Big Sail as “blind in one eye. The effects of whiskey and civilization are plainly discernible in this instance” (1848 catalogue, p. 24).

Donaldson and Ewers maintain that the portrait was painted during a visit to Niagara Falls. The former thinks the visit occurred in 1831, and the latter, in the winter of 1829–30; but Catlin's circuit of 1831 was apparently limited to St. Louis, Philadelphia, Albany, and Great Bend, Pennsylvania, and during the winter of 1829–30 he stayed in Washington and Richmond. In the absence of other evidence, it seems safer to assume that the portrait was painted at Mackinac in 1836, where a remnant of the Ottawa tribe remained, interspersed among the Ojibwa. It is more likely, too, that such a perceptive and sympathetic response to Indian dissipation would have come at the end of Catlin's travels. In 1830 and 1831, his sustaining ambition was to paint those tribes untouched by the effects of civilization.

Catlin describes Big Sail as “blind in one eye. The effects of whiskey and civilization are plainly discernible in this instance” (1848 catalogue, p. 24).

Donaldson and Ewers maintain that the portrait was painted during a visit to Niagara Falls. The former thinks the visit occurred in 1831, and the latter, in the winter of 1829–30; but Catlin's circuit of 1831 was apparently limited to St. Louis, Philadelphia, Albany, and Great Bend, Pennsylvania, and during the winter of 1829–30 he stayed in Washington and Richmond. In the absence of other evidence, it seems safer to assume that the portrait was painted at Mackinac in 1836, where a remnant of the Ottawa tribe remained, interspersed among the Ojibwa. It is more likely, too, that such a perceptive and sympathetic response to Indian dissipation would have come at the end of Catlin's travels. In 1830 and 1831, his sustaining ambition was to paint those tribes untouched by the effects of civilization.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Shin-gos-se-moon, Big Sail, a chief Shin-gós-se-moon, Big Sail, a Chief Catlin probably painted Big Sail at Mackinac, an island in Lake Huron that had been an intersection of Indian and European commerce since French Jesuits established a mission near there in 1671. Blind in one eye and alcoholic, Big Sail was to Catlin one of "the miserable living victims and dupes of white man's cupidity, degraded, discouraged and lost in the bewildering maze that is produced by the use of whiskey and its concomitant vices." By the time Catlin painted this image, he had come to regard the frontier as a region of contamination, where the interaction of Indians, Europeans, and Americans brought out the worst traits in each.

Catlin probably painted Big Sail at Mackinac, an island in Lake Huron that had been an intersection of Indian and European commerce since French Jesuits established a mission near there in 1671. Blind in one eye and alcoholic, Big Sail was to Catlin one of "the miserable living victims and dupes of white man's cupidity, degraded, discouraged and lost in the bewildering maze that is produced by the use of whiskey and its concomitant vices." By the time Catlin painted this image, he had come to regard the frontier as a region of contamination, where the interaction of Indians, Europeans, and Americans brought out the worst traits in each.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Ottawa Ottawa 1985_66_199_20 814 Catlin, George George Catlin 0 190 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830? about 1830 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Prairie du Chien in 1830, as the size and style are noticeably different from the earlier Winnebago portraits (see no. 209). The chief died in 1834 so Catlin could not have seen him on one of his later visits to the Upper Mississippi. This hastily sketched group may have been one of Catlin's first attempts at Indian portraiture in the West. Later that summer he apparently worked in the neighborhood of Fort Leavenworth, with more encouraging results (see no. 237).

Probably painted at Prairie du Chien in 1830, as the size and style are noticeably different from the earlier Winnebago portraits. The chief died in 1834 so Catlin could not have seen him on one of his later visits to the Upper Mississippi.

This hastily sketched group may have been one of Catlin's first attempts at Indian portraiture in the West. Later that summer he apparently worked in the neighborhood of Fort Leavenworth, with more encouraging results.

Probably painted at Prairie du Chien in 1830, as the size and style are noticeably different from the earlier Winnebago portraits (see no. 209). The chief died in 1834 so Catlin could not have seen him on one of his later visits to the Upper Mississippi.

This hastily sketched group may have been one of Catlin's first attempts at Indian portraiture in the West. Later that summer he apparently worked in the neighborhood of Fort Leavenworth, with more encouraging results (see no. 237).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Du-cor-re-a, a chief of the tribe, and his family Du-cór-re-a, Chief of the Tribe, and His Family George Catlin Object Winnebago Winnebago 1985_66_1A see previous 814 Catlin, George George Catlin 0 161 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 24 x 29 24 x 29 in. 1835 1835 in CAT George Gurney no 1796–1872 oil on canvas oil 60.9 x 73.7 cm. 60.9 x 73.7 cm. painting painting Keokuk looks like a grand man. You can tell with his clothing and the painting on his horse that he was a great warrior. There are the handprints---that means coups; he scored a victory over a person. Then there is the scalp hanging from the horse's bridle; that's another emblem of victory. Of course the bear claw necklace, that was the style of the time, obtained the hard way. George P. Horse Capture, Gros Ventre/A'aninin Kee-o-kuk, The Watchful Fox, Chief of the Tribe Kee-o-kúk, The Watchful Fox, Chief of the Tribe Catlin paid Keokuk the compliment of depicting him on horseback: the equestrian portrait is traditionally reserved for those of the highest military and noble rank.

Catlin paid Keokuk the compliment of depicting him on horseback: the equestrian portrait is traditionally reserved for those of the highest military and noble rank.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Sac and Fox Sac and Fox 1985_66_2 814 Catlin, George George Catlin 0 158 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney yes 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. The Black Hawk is the man to whom I have alluded, as the leader of the 'Black Hawk war/ who was defeated by General Atkinson, and held a prisoner of war, and sent through Washington and other Eastern cities, with a number of others, to be gazed at. This man, whose name has carried a sort of terror through the country where it has been sounded, has been distinguished as a speaker or counselor rather than as a warrior; and I believe it has been pretty generally admitted that 'Nahpope' [no. 81 and the 'Prophet' [no. 71 were, in fact, the instigators of the war, and either of them with much higher claims for the name of warrior than Black Hawk ever had. "When I painted this chief, he was dressed in a plain suit of buckskin, with a string of wampum in his ears and on his neck, and held in his hand his medicine-bag, which was the skin of a black hawk, from which he had taken his name, and the tail of which made him a fan, which he was almost constantly using" (Letters and Notes, vol. 2, p. 211, pl. 283). Catlin painted Black Hawk and his warriors when they were prisoners at Jefferson Barracks near St. Louis in October 1832 (see no. 1). They were described at the time in the following unidentified passage from Donaldson: "We were immediately struck with admiration at the gigantic and symmetrical figures of most of these warriors, who seemed, as they reclined in native ease and gracefulness, with their half naked bodies exposed to view, rather like statues from some master hand than like beings of a race whom we had heard characterized as degenerate and debased. . . . They were clad in leggings and moccasins of buckskin, and wore blankets, which were thrown around them in the manner of the Roman toga, so as to leave their right arm bare. The youngest among them were painted on their necks with a bright vermilion color, and had their faces transversely streaked with alternate red and black stripes. From their bodies and from their faces and eyebrows they pluck out the hair with the most assiduous care. They also shave or pull it out from their heads, with the exception of a tuft of about three fingers width, extending from between the forehead and crown to the back of the head. This they sometimes plait into a queue on the crown, and cut the edges of it down to an inch in length, and plaster it with vermilion, which keeps it erect and gives it the appearance of a cock's comb" (Donaldson, p. 25). Catlin's visit to Jefferson Barracks must have taken place shortly after he returned from the Upper Missouri (see no. 69). With the experience of his most productive summer behind him, he turned to the Sauk prisoners, painting them with a sure economy that emphasizes the oval geometry of their features and their shaven skulls. In the portraits of Black Hawk and Sturgeon's Head (no. 18), perhaps the best of the group, an astonishing dimension is achieved with relatively simple brushwork, and the facial contours form an unusually bold and effective design. The Smithsonian portrait, plate 283 in Letters and Notes, and the Gilcrease watercolor are almost identical in detail, although the latter may be the sketch that in an 1833 Philadelphia newspaper Audubon challenged as a bad likeness (see Haberly). A deerhair crest has been added to Black Hawk's roach and minor changes have been made in the arrangement of the beaded necklaces in the University Museum portrait (illustrated here), suggesting that it is a later version (see no. 504). The Field Museum portrait incorporates these same changes, but the roach and facial features have been overpainted with crude, flat strokes that obscure the original likeness (see no. 3). Black Hawk also appears, full length, in cartoon 14 (NGA 2053) with his fellow prisoners at Jefferson Barracks, and in cartoon 232 (NGA 2272), exhorting Keokuk to join forces with him against the whites. Black Hawk toured the East after his imprisonment and was painted by John Wesley Jarvis (fig. 112), Robert Sully, and Charles Bird King (see McKenney and Hall, vol. 2, p. 95). Catlin's portrait compares favorably to all three likenesses.

“The Black Hawk is the man to whom I have alluded, as the leader of the ‘Black Hawk war’ who was defeated by General Atkinson, and held a prisoner of war, and sent through Washington and other Eastern cities, with a number of others, to be gazed at.

“This man, whose name has carried a sort of terror through the country where it has been sounded, has been distinguished as a speaker or counselor rather than as a warrior; and I believe it has been pretty generally admitted that ‘Nahpope’ and the ‘Prophet’ were, in fact, the instigators of the war, and either of them with much higher claims for the name of warrior than Black Hawk ever had.

“When I painted this chief, he was dressed in a plain suit of buckskin, with a string of wampum in his ears and on his neck, and held in his hand his medicine-bag, which was the skin of a black hawk, from which he had taken his name, and the tail of which made him a fan, which he was almost constantly using” (Letters and Notes, vol. 2, p. 211, pl. 283).

Catlin painted Black Hawk and his warriors when they were prisoners at Jefferson Barracks near St. Louis in October 1832. They were described at the time in the following unidentified passage from Donaldson:

“We were immediately struck with admiration at the gigantic and symmetrical figures of most of these warriors, who seemed, as they reclined in native ease and gracefulness, with their half naked bodies exposed to view, rather like statues from some master hand than like beings of a race whom we had heard characterized as degenerate and debased. … They were clad in leggings and moccasins of buckskin, and wore blankets, which were thrown around them in the manner of the Roman toga, so as to leave their right arm bare. The youngest among them were painted on their necks with a bright vermilion color, and had their faces transversely streaked with alternate red and black stripes. From their bodies and from their faces and eyebrows they pluck out the hair with the most assiduous care. They also shave or pull it out from their heads, with the exception of a tuft of about three fingers width, extending from between the forehead and crown to the back of the head. This they sometimes plait into a queue on the crown, and cut the edges of it down to an inch in length, and plaster it with vermilion, which keeps it erect and gives it the appearance of a cock's comb” (Donaldson, p. 25).

Catlin's visit to Jefferson Barracks must have taken place shortly after he returned from the Upper Missouri. With the experience of his most productive summer behind him, he turned to the Sauk prisoners, painting them with a sure economy that emphasizes the oval geometry of their features and their shaven skulls. In the portraits of Black Hawk and Sturgeon's Head, perhaps the best of the group, an astonishing dimension is achieved with relatively simple brushwork, and the facial contours form an unusually bold and effective design.

The Smithsonian portrait, plate 283 in Letters and Notes, and the Gilcrease watercolor are almost identical in detail, although the latter may be the sketch that in an 1833 Philadelphia newspaper Audubon challenged as a bad likeness (see Haberly). A deerhair crest has been added to Black Hawk's roach and minor changes have been made in the arrangement of the beaded necklaces in the University Museum portrait, suggesting that it is a later version. The Field Museum portrait incorporates these same changes, but the roach and facial features have been overpainted with crude, flat strokes that obscure the original likeness.

Black Hawk also appears, full length, in cartoon 14 with his fellow prisoners at Jefferson Barracks, and in cartoon 232, exhorting Keokuk to join forces with him against the whites. Black Hawk toured the East after his imprisonment and was painted by John Wesley Jarvis, Robert Sully, and Charles Bird King (see McKenney and Hall, vol. 2, p. 95). Catlin's portrait compares favorably to all three likenesses.

“The Black Hawk is the man to whom I have alluded, as the leader of the ‘Black Hawk war’ who was defeated by General Atkinson, and held a prisoner of war, and sent through Washington and other Eastern cities, with a number of others, to be gazed at.

“This man, whose name has carried a sort of terror through the country where it has been sounded, has been distinguished as a speaker or counselor rather than as a warrior; and I believe it has been pretty generally admitted that ‘Nahpope’ [no. 8] and the ‘Prophet’ [no. 7] were, in fact, the instigators of the war, and either of them with much higher claims for the name of warrior than Black Hawk ever had.

“When I painted this chief, he was dressed in a plain suit of buckskin, with a string of wampum in his ears and on his neck, and held in his hand his medicine-bag, which was the skin of a black hawk, from which he had taken his name, and the tail of which made him a fan, which he was almost constantly using” (Letters and Notes, vol. 2, p. 211, pl. 283).

Catlin painted Black Hawk and his warriors when they were prisoners at Jefferson Barracks near St. Louis in October 1832 (see no. 1). They were described at the time in the following unidentified passage from Donaldson:

“We were immediately struck with admiration at the gigantic and symmetrical figures of most of these warriors, who seemed, as they reclined in native ease and gracefulness, with their half naked bodies exposed to view, rather like statues from some master hand than like beings of a race whom we had heard characterized as degenerate and debased. … They were clad in leggings and moccasins of buckskin, and wore blankets, which were thrown around them in the manner of the Roman toga, so as to leave their right arm bare. The youngest among them were painted on their necks with a bright vermilion color, and had their faces transversely streaked with alternate red and black stripes. From their bodies and from their faces and eyebrows they pluck out the hair with the most assiduous care. They also shave or pull it out from their heads, with the exception of a tuft of about three fingers width, extending from between the forehead and crown to the back of the head. This they sometimes plait into a queue on the crown, and cut the edges of it down to an inch in length, and plaster it with vermilion, which keeps it erect and gives it the appearance of a cock's comb” (Donaldson, p. 25).

Catlin's visit to Jefferson Barracks must have taken place shortly after he returned from the Upper Missouri (see no. 69). With the experience of his most productive summer behind him, he turned to the Sauk prisoners, painting them with a sure economy that emphasizes the oval geometry of their features and their shaven skulls. In the portraits of Black Hawk and Sturgeon's Head (no. 18), perhaps the best of the group, an astonishing dimension is achieved with relatively simple brushwork, and the facial contours form an unusually bold and effective design.

The Smithsonian portrait, plate 283 in Letters and Notes, and the Gilcrease watercolor are almost identical in detail, although the latter may be the sketch that in an 1833 Philadelphia newspaper Audubon challenged as a bad likeness (see Haberly). A deerhair crest has been added to Black Hawk's roach and minor changes have been made in the arrangement of the beaded necklaces in the University Museum portrait (illustrated here), suggesting that it is a later version (see no. 504). The Field Museum portrait incorporates these same changes, but the roach and facial features have been overpainted with crude, flat strokes that obscure the original likeness (see no. 3).

Black Hawk also appears, full length, in cartoon 14 (NGA 2053) with his fellow prisoners at Jefferson Barracks, and in cartoon 232 (NGA 2272), exhorting Keokuk to join forces with him against the whites. Black Hawk toured the East after his imprisonment and was painted by John Wesley Jarvis (fig. 112), Robert Sully, and Charles Bird King (see McKenney and Hall, vol. 2, p. 95). Catlin's portrait compares favorably to all three likenesses.

painting painting Personally I am grateful to Catlin, because although they were under stress [from western expansion], we can see these people. We can see Black Hawk; we can see Osceola; all these great leaders, Catlin saw. He looked in their eyes, and even though Black Hawk was in shackles, he still had a presence. He still had a force, and we can see the strength that they had, and the pride. George P. Horse Capture, Gros Ventre/A'aninin Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Muk-a-tah-mish-o-kah-kaik, Black Hawk, prominent Sac Chief Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief The great warrior Black Hawk led the Sac and Fox in their heroic but doomed Black Hawk War of 1832, a last-ditch attempt to regain control of tribal farmland in Illinois. Following his capture after the Battle of Bad Axe, Black Hawk was held prisoner at a military installation near St. Louis. Catlin encountered him there at the end of his 1832 tour of the Upper Missouri and, in keeping with his practice of making portraits of prominent individuals, captured his likeness. Beginning in 1833, Catlin exhibited the Indian Gallery, not yet complete, in Pittsburgh, Louisville, Cincinnati, New Orleans, and elsewhere. By fall 1837, he was ready for the major East Coast cities. In his evening shows, Catlin lectured on several hundred paintings placed one by one on an easel. To boost attendance, he invited Indian leaders in the east on other business to appear. His guests endorsed his accuracy, putting the lie to critics who questioned his reports from the West. When Black Hawk, the biggest Indian celebrity of the 1830s, attended an exhibition of the Indian Gallery in New York in 1837, both press and public turned out in force.

The great warrior Black Hawk led the Sac and Fox in their heroic but doomed Black Hawk War of 1832, a last-ditch attempt to regain control of tribal farmland in Illinois. Following his capture after the Battle of Bad Axe, Black Hawk was held prisoner at a military installation near St. Louis. Catlin encountered him there at the end of his 1832 tour of the Upper Missouri and, in keeping with his practice of making portraits of prominent individuals, captured his likeness.

Beginning in 1833, Catlin exhibited the Indian Gallery, not yet complete, in Pittsburgh, Louisville, Cincinnati, New Orleans, and elsewhere. By fall 1837, he was ready for the major East Coast cities. In his evening shows, Catlin lectured on several hundred paintings placed one by one on an easel. To boost attendance, he invited Indian leaders in the east on other business to appear. His guests endorsed his accuracy, putting the lie to critics who questioned his reports from the West. When Black Hawk, the biggest Indian celebrity of the 1830s, attended an exhibition of the Indian Gallery in New York in 1837, both press and public turned out in force.

27 George Catlin Object Sac and Fox Sac and Fox 1985_66_207 814 Catlin, George George Catlin 0 263 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Described by Catlin as "the largest man of the tribe, with rattle-snakes' skins on his arms, and his war-club in his hand" (Letters and Notes, vol. 2, p. 146, pl. 255). Probably painted at Prairie du Chien in 1835, as the figure seems more closely related to the Eastern Sioux and Ojibwa series than to the previous portrait. The solid anatomy and stance of the subject, along with the more skillfully rendered costume details show Catlin making a marked improvement in the years that separate this painting from numbers 209 through 217 in the Winnebago series. The subject also appears in cartoon 4 (AMNH 201).

Described by Catlin as “the largest man of the tribe, with rattle-snakes' skins on his arms, and his war-club in his hand” (Letters and Notes, vol. 2, p. 146, pl. 255).

Probably painted at Prairie du Chien in 1835, as the figure seems more closely related to the Eastern Sioux and Ojibwa series than to the previous portrait. The solid anatomy and stance of the subject, along with the more skillfully rendered costume details show Catlin making a marked improvement in the years that separate this painting from numbers 209 through 217 in the Winnebago series.

The subject also appears in cartoon 4.

Described by Catlin as “the largest man of the tribe, with rattle-snakes' skins on his arms, and his war-club in his hand” (Letters and Notes, vol. 2, p. 146, pl. 255).

Probably painted at Prairie du Chien in 1835, as the figure seems more closely related to the Eastern Sioux and Ojibwa series than to the previous portrait. The solid anatomy and stance of the subject, along with the more skillfully rendered costume details show Catlin making a marked improvement in the years that separate this painting from numbers 209 through 217 in the Winnebago series.

The subject also appears in cartoon 4 (AMNH 201).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-chee-hahs-ka, Man Who Puts All Out of Doors Wah-chee-háhs-ka, Man Who Puts All Out of Doors George Catlin Object Winnebago Winnebago 1985_66_208 814 Catlin, George George Catlin 0 312 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Probably painted at Prairie du Chien in 1835, as the figure is more closely related to number 207 than to numbers 209 through 217.

Probably painted at Prairie du Chien in 1835, as the figure is more closely related to number 207 than to numbers 209 through 217.

Probably painted at Prairie du Chien in 1835, as the figure is more closely related to number 207 than to numbers 209 through 217.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Won-de-tow-a, The Wonder Won-de-tów-a, The Wonder George Catlin Object Winnebago Winnebago 1985_66_209 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1835 1835 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Described by Catlin as "the portrait of an old chief, who died a few years since; and who was for many years the head chief of the tribe. . . . This man has been much distinguished in his time, for his eloquence; and he desired me to paint him in the attitude of an orator, addressing his people" (Letters and Notes, vol. 2, p. 146, pl. 254). Probably painted in Washington in the autumn of 1828, when a Winnebago delegation that included Wood visited several cities on the East Coast. According to Roehm, Catlin was in Washington at the time, having gone "south" (meaning Washington or Richmond) for his health in the winter of 1828-29. The portrait is unlike the style of number 199-206, and much less accomplished than the Fort Leavenworth series of 1830 (see nos. 237-55), or the Winnebago subjects Catlin painted at Prairie du Chien in 1835 (see no. 107). Besides, Wood died in 1833, a fact that must have escaped Donaldson when he assigned a date of 1835 to numbers 209 through 217, all of which have remarkably similar style characteristics. These numbers in the Winnebago series are of uniformly smaller dimensions than the average Catlin portrait in the Smithsonian (see no. 218), and they are noticeably weak in technique and style. Each consists of a standing figure whose anatomy is ill-proportioned and partially obscured by a coarse blanket. Expressionless faces, built up with labored strokes, and costumes outlined in a harsh and perfunctory manner further contribute to their unsatisfactory appearance. The portraits are perhaps more reminiscent of Red jacket (no. 263) than of future developments. Charles Bird King painted a more detailed portrait of Wood in Washington (see McKenney and Hall, vol. 1, pp. 153-54), and the subject appears again in cartoon 4 (AMNH 201), with three Winnebago warriors.

Described by Catlin as “the portrait of an old chief, who died a few years since; and who was for many years the head chief of the tribe. … This man has been much distinguished in his time, for his eloquence; and he desired me to paint him in the attitude of an orator, addressing his people” (Letters and Notes, vol. 2, p. 146, pl. 254).

Probably painted in Washington in the autumn of 1828, when a Winnebago delegation that included Wood visited several cities on the East Coast. According to Roehm, Catlin was in Washington at the time, having gone “south” (meaning Washington or Richmond) for his health in the winter of 1820–29. The portrait is unlike the style of number 190–206, and much less accomplished than the Fort Leavenworth series of 1830, or the Winnebago subjects Catlin painted at Prairie du Chien in 1835. Besides, Wood died in 1833, a fact that must have escaped Donaldson when he assigned a date of 1835 to numbers 209 through 217, all of which have remarkably similar style characteristics.

These numbers in the Winnebago series are of uniformly smaller dimensions than the average Catlin portrait in the Smithsonian, and they are noticeably weak in technique and style. Each consists of a standing figure whose anatomy is ill-proportioned and partially obscured by a coarse blanket. Expressionless faces, built up with labored strokes, and costumes outlined in a harsh and perfunctory manner further contribute to their unsatisfactory appearance. The portraits are perhaps more reminiscent of Red jacket than of future developments.

Charles Bird King painted a more detailed portrait of Wood in Washington (see McKenney and Hall, vol. 1, pp. 150–54), and the subject appears again in cartoon 4, with three Winnebago warriors.

Described by Catlin as “the portrait of an old chief, who died a few years since; and who was for many years the head chief of the tribe. … This man has been much distinguished in his time, for his eloquence; and he desired me to paint him in the attitude of an orator, addressing his people” (Letters and Notes, vol. 2, p. 146, pl. 254).

Probably painted in Washington in the autumn of 1828, when a Winnebago delegation that included Wood visited several cities on the East Coast. According to Roehm, Catlin was in Washington at the time, having gone “south” (meaning Washington or Richmond) for his health in the winter of 1820–29. The portrait is unlike the style of number 190–206, and much less accomplished than the Fort Leavenworth series of 1830 (see nos. 230–55), or the Winnebago subjects Catlin painted at Prairie du Chien in 1835 (see no. 107). Besides, Wood died in 1833, a fact that must have escaped Donaldson when he assigned a date of 1835 to numbers 209 through 217, all of which have remarkably similar style characteristics.

These numbers in the Winnebago series are of uniformly smaller dimensions than the average Catlin portrait in the Smithsonian (see no. 218), and they are noticeably weak in technique and style. Each consists of a standing figure whose anatomy is ill-proportioned and partially obscured by a coarse blanket. Expressionless faces, built up with labored strokes, and costumes outlined in a harsh and perfunctory manner further contribute to their unsatisfactory appearance. The portraits are perhaps more reminiscent of Red jacket (no. 263) than of future developments.

Charles Bird King painted a more detailed portrait of Wood in Washington (see McKenney and Hall, vol. 1, pp. 150–54), and the subject appears again in cartoon 4 (AMNH 201), with three Winnebago warriors.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Naw-kaw, Wood, former chief of the tribe Náw-káw, Wood, Former Chief of the Tribe George Catlin Object 1985_66_210 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 3/8 x 14 in. 18 3/8 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 46.7 x 35.7 cm. 46.7 x 35.7 cm. Described by Catlin, along with The Snake (no. 213), as full-length portraits and "fair specimens of the tribe, who are generally a rather short and thick-set, square shouldered set of men" (Letters and Notes, vol. 2, p. 146, pl. 256). Probably painted in Washington in the autumn of 1828 (see no. 209). Note the scale of the head and the absence of anatomy beneath the nondescript blanket. At the extreme left of cartoon 4 (AMNH 201) is a figure who resembles the Smithsonian portrait, but he is incorrectly identified as Wood (no. 209) in the 18 71 catalogue (see nos. 211, 215). Catlin often mislabeled the cartoon collection (see nos. 113-16).

Described by Catlin, along with The Snake, as full-length portraits and “fair specimens of the tribe, who are generally a rather short and thick-set, square shouldered set of men” (Letters and Notes, vol. 2, p. 146, pl. 256).

Probably painted in Washington in the autumn of 1828. Note the scale of the head and the absence of anatomy beneath the nondescript blanket.

At the extreme left of cartoon 4 is a figure who resembles the Smithsonian portrait, but he is incorrectly identified as Wood in the 1871 catalogue. Catlin often mislabeled the cartoon collection.

Described by Catlin, along with The Snake (no. 213), as full-length portraits and “fair specimens of the tribe, who are generally a rather short and thick-set, square shouldered set of men” (Letters and Notes, vol. 2, p. 146, pl. 256).

Probably painted in Washington in the autumn of 1828 (see no. 209). Note the scale of the head and the absence of anatomy beneath the nondescript blanket.

At the extreme left of cartoon 4 (AMNH 201) is a figure who resembles the Smithsonian portrait, but he is incorrectly identified as Wood (no. 209) in the 1871 catalogue (see nos. 211, 215). Catlin often mislabeled the cartoon collection (see nos. 110–16).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kaw-kaw-ne-choo-a, a brave Káw-kaw-ne-chóo-a, a Brave George Catlin Object 1985_66_211 814 Catlin, George George Catlin 0 36 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 181/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas` oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209). The subject supposedly appears again in cartoon 4 (AMNH 201), but the Smithsonian portrait does not resemble either of the possible figures (see nos. 210, 213).

Probably painted in Washington in the autumn of 1828. The subject supposedly appears again in cartoon 4, but the Smithsonian portrait does not resemble either of the possible figures.

Probably painted in Washington in the autumn of 1828 (see no. 209). The subject supposedly appears again in cartoon 4 (AMNH 201), but the Smithsonian portrait does not resemble either of the possible figures (see nos. 210, 213).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wa-kon-chash-kaw, He Who Comes on the Thunder Wa-kon-chásh-kaw, He Who Comes on the Thunder George Catlin Object Winnebago Winnebago 1985_66_212 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209).

Probably painted in Washington in the autumn of 1828.

Probably painted in Washington in the autumn of 1828 (see no. 209).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Naw-naw-pay-ee, The Soldier Naw-naw-páy-ee, The Soldier George Catlin Object 1985_66_213 814 Catlin, George George Catlin 0 37 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 3/8 x 14 in. 18 3/8 x 14 in. 1828 1828 George Gurney no 1796–1872 oil on canvas oil 46.8 x 35.5 cm. 46.8 x 35.5 cm. See number 210 for Catlin's description. Probably painted in Washington in the autumn of 1828 (see no. 209). James Otto Lewis made an earlier portrait of The Snake (see McKenney and Hall vol. 2, p. 315), and at the extreme right of cartoon 4 (AMNH 201) is a figure who resembles the Smithsonian portrait, but he is incorrectly identified in the 1871 catalogue (see nos. 211, 215).

See number 210 for Catlin's description.

Probably painted in Washington in the autumn of 1828. James Otto Lewis made an earlier portrait of The Snake (see McKenney and Hall vol. 2, p. 315), and at the extreme right of cartoon 4 is a figure who resembles the Smithsonian portrait, but he is incorrectly identified in the 1871 catalogue.

See number 210 for Catlin's description.

Probably painted in Washington in the autumn of 1828 (see no. 209). James Otto Lewis made an earlier portrait of The Snake (see McKenney and Hall vol. 2, p. 315), and at the extreme right of cartoon 4 (AMNH 201) is a figure who resembles the Smithsonian portrait, but he is incorrectly identified in the 1871 catalogue (see nos. 211, 215).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-kon-ze-kaw, The Snake Wah-kón-ze-kaw, The Snake Catlin found his first Indian subjects in the east. Nine members of a Winnebago delegation from Wisconsin sat for him in Washington, D.C., in 1828. Catlin's command of his art, as well as his plans for an Indian Gallery, were still in their formative stages.

Catlin found his first Indian subjects in the east. Nine members of a Winnebago delegation from Wisconsin sat for him in Washington, D.C., in 1828. Catlin's command of his art, as well as his plans for an Indian Gallery, were still in their formative stages.

George Catlin Object Winnebago Winnebago 1985_66_214 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209).

Probably painted in Washington in the autumn of 1828.

Probably painted in Washington in the autumn of 1828 (see no. 209).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Span-e-o-nee-kaw,The Spaniard Span-e-o-née-kaw, The Spaniard George Catlin Object 1985_66_215 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/16/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209). Note the broad and clumsy brushwork. James Otto Lewis made an earlier portrait of Little Elk (see McKenney and Hall, vol. 2, p. 307), and the subject supposedly appears again in cartoon 4 (AMNH 201), but the Smithsonian portrait does not resemble either of the possible figures (see nos. 210,213).

Probably painted in Washington in the autumn of 1828. Note the broad and clumsy brushwork.

James Otto Lewis made an earlier portrait of Little Elk (see McKenney and Hall, vol. 2, p. 307), and the subject supposedly appears again in cartoon 4, but the Smithsonian portrait does not resemble either of the possible figures.

Probably painted in Washington in the autumn of 1828 (see no. 209). Note the broad and clumsy brushwork.

James Otto Lewis made an earlier portrait of Little Elk (see McKenney and Hall, vol. 2, p. 307), and the subject supposedly appears again in cartoon 4 (AMNH 201), but the Smithsonian portrait does not resemble either of the possible figures (see nos. 210,213).

painting painting Little Elk Hoo-w'a-ne-kaw, Little Elk George Catlin Object 1985_66_216 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209).

Probably painted in Washington in the autumn of 1828.

Probably painted in Washington in the autumn of 1828 (see no. 209).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). No-ak-choo-she-kaw, He Who Breaks the Bushes No-ak-chóo-she-kaw, He Who Breaks the Bushes George Catlin Object 1985_66_217 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 18 1/2 x 14 in. 18 1/2 x 14 in. 1828 1828 George Gurney 1796–1872 oil on canvas oil 47.0 x 35.7 cm. 47.0 x 35.7 cm. Probably painted in Washington in the autumn of 1828 (see no. 209).

Probably painted in Washington in the autumn of 1828.

Probably painted in Washington in the autumn of 1828 (see no. 209).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Naugh-haigh-hee-kaw, He Who Moistens the Wood Naugh-háigh-hee-kaw, He Who Moistens the Wood George Catlin Object 1985_66_218 814 Catlin, George George Catlin 0 45 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/8 in. 21 1/8 x 16 1/8 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil 53.8 x 40.9 cm. 53.8 x 40.9 cm. Described by Catlin as a dignified chief who /,commanded great respect for his eloquence, and . . . deportment." Grizzly Bear was painted with "a handsome pipe in his hand, and wampum on his neck" (Letters and Notes, vol. 2, p. 147, pl. 258; 1848 catalogue, p. 25). Probably painted in Washington in January 1831, when Grizzly Bear and thirteen members of his tribe visited the capital to negotiate the sale of a portion of their tribal lands. A treaty signed by the Menominee on February 8, 183 1, includes the names of eleven of the twelve male subjects listed in the 1848 catalogue between numbers 218 and 231. Catlin's presence in Washington in January 1831 is certain (see Roehm), and the Menominee portraits are very different from the one Winnebago example (no. 199-206), apparently painted at Prairie du Chien in the summer of 1830 (see no. 222). They have more in common with the Fort Leavenworth series of the fall of that year (see nos. 237-55), and their small size connects them with other groups that must have been painted in Washington (see nos. 209-17, 264-69). The portrait of Grizzly Bear is painted with a flourish and fullness of expression that distinguishes it among the Menominee group. Were it not for its size (the uniform dimensions of nos. 218-31), and the schematic modeling of eyes and lips, one would be tempted to assign it to one of Catlin's later visits to Prairie du Chien (see nos. 232-36). The succeeding portraits in this group, which Donaldson incorrectly dates 1835 or 1836, are modeled with heavier, less vigorous strokes, and costume details sometimes lack a sharp and careful definition. The unfortunate condition of several portraits further contributes to their uneven appearance. Grizzly Bear appears again in cartoon 17 (NGA 2056), with his wife (no. 219) and son (no. 220).

Described by Catlin as a dignified chief who /,commanded great respect for his eloquence, and … deportment” Grizzly Bear was painted with “a handsome pipe in his hand, and wampum on his neck” (Letters and Notes, vol. 2, p. 147, pl. 258; 1848 catalogue, p. 25).

Probably painted in Washington in January 1831, when Grizzly Bear and thirteen members of his tribe visited the capital to negotiate the sale of a portion of their tribal lands. A treaty signed by the Menominee on February 8, 1831, includes the names of eleven of the twelve male subjects listed in the 1848 catalogue between numbers 218 and 231. Catlin's presence in Washington in January 1831 is certain (see Roehm), and the Menominee portraits are very different from the one Winnebago example, apparently painted at Prairie du Chien in the summer of 1830. They have more in common with the Fort Leavenworth series of the fall of that year, and their small size connects them with other groups that must have been painted in Washington.

The portrait of Grizzly Bear is painted with a flourish and fullness of expression that distinguishes it among the Menominee group. Were it not for its size (the uniform dimensions this series), and the schematic modeling of eyes and lips, one would be tempted to assign it to one of Catlin's later visits to Prairie du Chien. The succeeding portraits in this group, which Donaldson incorrectly dates 1835 or 1836, are modeled with heavier, less vigorous strokes, and costume details sometimes lack a sharp and careful definition. The unfortunate condition of several portraits further contributes to their uneven appearance.

Grizzly Bear appears again in cartoon 17, with his wife and son.

Described by Catlin as a dignified chief who /,commanded great respect for his eloquence, and … deportment” Grizzly Bear was painted with “a handsome pipe in his hand, and wampum on his neck” (Letters and Notes, vol. 2, p. 147, pl. 258; 1848 catalogue, p. 25).

Probably painted in Washington in January 1831, when Grizzly Bear and thirteen members of his tribe visited the capital to negotiate the sale of a portion of their tribal lands. A treaty signed by the Menominee on February 8, 1831, includes the names of eleven of the twelve male subjects listed in the 1848 catalogue between numbers 218 and 231. Catlin's presence in Washington in January 1831 is certain (see Roehm), and the Menominee portraits are very different from the one Winnebago example (no. 190–206), apparently painted at Prairie du Chien in the summer of 1830 (see no. 222). They have more in common with the Fort Leavenworth series of the fall of that year (see nos. 230–55), and their small size connects them with other groups that must have been painted in Washington (see nos. 200–17, 260–69).

The portrait of Grizzly Bear is painted with a flourish and fullness of expression that distinguishes it among the Menominee group. Were it not for its size (the uniform dimensions of nos. 210–31), and the schematic modeling of eyes and lips, one would be tempted to assign it to one of Catlin's later visits to Prairie du Chien (see nos. 230–36). The succeeding portraits in this group, which Donaldson incorrectly dates 1835 or 1836, are modeled with heavier, less vigorous strokes, and costume details sometimes lack a sharp and careful definition. The unfortunate condition of several portraits further contributes to their uneven appearance.

Grizzly Bear appears again in cartoon 17 (NGA 2056), with his wife (no. 219) and son (no. 220).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mah-kee-mee-teuv, Grizzly Bear, chief of the tribe Mah-kée-mee-teuv, Grizzly Bear, Chief of the Tribe George Catlin Object Menominee Menominee 1985_66_219 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil 53.5 x 41.9 cm. 53.5 x 41.9 cm. Probably painted in Washington in January 1831. Although the technique seems more hesitant than in the previous portrait, Catlin gives every indication that the couple was painted at the same time (see no. 218). The subject appears again, full length, in cartoon 17 (NGA 2056).

Probably painted in Washington in January 1831. Although the technique seems more hesitant than in the previous portrait, Catlin gives every indication that the couple was painted at the same time.

The subject appears again, full length, in cartoon 17.

Probably painted in Washington in January 1831. Although the technique seems more hesitant than in the previous portrait, Catlin gives every indication that the couple was painted at the same time (see no. 218).

The subject appears again, full length, in cartoon 17 (NGA 2056).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mee-cheet-e-neuh, Wounded Bear's Shoulder, wife of the chief Mee-chéet-e-neuh, Wounded Bear's Shoulder, Wife of the Chief George Catlin Object 1985_66_22 see previous 814 Catlin, George George Catlin 0 LW093 National Museum of American Art, Smithsonian Institution, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 in CAT George Gurney 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. A chief of some distinction, with a bold and manly outline of head; exhibiting, like most of his tribe, an European outline of features, signally worth the notice of the inquiring world. The head of this chief was most curiously ornamented, and his neck bore a profusion of wampum strings (Letters and Notes, vol. 2, p. 23, pl. 133). Haberly, followed by Ewers and McCracken, states that Catlin visited the Kansa villages with General Clark in 1830, but Catlin recalls the visit taking place with Major John Dougherty in the spring of 1831 (Donaldson, p. 425). Unfortunately, there is no mention of a trip in either year in the Clark or Dougherty papers at the Kansas State Historical Society, and both Dale Morgan (see Roehm) and Louise Barry convincingly challenge Haberly's research and Catlin's romantic recollections. In the fall of 1832, Catlin did stay several weeks at Fort Leavenworth, where he encountered numerous members of the tribe and must have painted the following series of Kansa portraits. Each is modeled with broad firm strokes that give a vigorous dimension to the facial structure, yet the costume accessories are done with a technique turned surprisingly facile. The series appears to have much in common with Upper Missouri portraits painted earlier in the summer (see nos. 69, 149) and represents a marked achievement over Catlin's efforts in 1830 (see nos. 23 7-55). The Wolf appears again, full length, in cartoon 1 (NGA 2269), with his wife and child, and three Kansa warriors.

“A chief of some distinction, with a bold and manly outline of head; exhibiting, like most of his tribe, an European outline of features, signally worth the notice of the inquiring world. The head of this chief was most curiously ornamented, and his neck bore a profusion of wampum strings” (Letters and Notes, vol. 2, p. 23, pl. 133).

Haberly, followed by Ewers and McCracken, states that Catlin visited the Kansa villages with General Clark in 1830, but Catlin recalls the visit taking place with Major John Dougherty in the spring of 1831 (Donaldson, p. 425). Unfortunately, there is no mention of a trip in either year in the Clark or Dougherty papers at the Kansas State Historical Society, and both Dale Morgan (see Roehm) and Louise Barry convincingly challenge Haberly's research and Catlin's romantic recollections.

In the fall of 1832, Catlin did stay several weeks at Fort Leavenworth, where he encountered numerous members of the tribe and must have painted the following series of Kansa portraits. Each is modeled with broad firm strokes that give a vigorous dimension to the facial structure, yet the costume accessories are done with a technique turned surprisingly facile. The series appears to have much in common with Upper Missouri portraits painted earlier in the summer and represents a marked achievement over Catlin's efforts in 1830.

The Wolf appears again, full length, in cartoon 1, with his wife and child, and three Kansa warriors.

“A chief of some distinction, with a bold and manly outline of head; exhibiting, like most of his tribe, an European outline of features, signally worth the notice of the inquiring world. The head of this chief was most curiously ornamented, and his neck bore a profusion of wampum strings” (Letters and Notes, vol. 2, p. 23, pl. 133).

Haberly, followed by Ewers and McCracken, states that Catlin visited the Kansa villages with General Clark in 1830, but Catlin recalls the visit taking place with Major John Dougherty in the spring of 1831 (Donaldson, p. 425). Unfortunately, there is no mention of a trip in either year in the Clark or Dougherty papers at the Kansas State Historical Society, and both Dale Morgan (see Roehm) and Louise Barry convincingly challenge Haberly's research and Catlin's romantic recollections.

In the fall of 1832, Catlin did stay several weeks at Fort Leavenworth, where he encountered numerous members of the tribe and must have painted the following series of Kansa portraits. Each is modeled with broad firm strokes that give a vigorous dimension to the facial structure, yet the costume accessories are done with a technique turned surprisingly facile. The series appears to have much in common with Upper Missouri portraits painted earlier in the summer (see nos. 69, 149) and represents a marked achievement over Catlin's efforts in 1830 (see nos. 237–55).

The Wolf appears again, full length, in cartoon 1 (NGA 2269), with his wife and child, and three Kansa warriors.

painting painting

Chief of the Kansas tribe, The Wolf was painted while Catlin was at Fort Leavenworth, a frontier military post in present-day Kansas. Catlin described the sitter as “a chief of some distinction, with a bold and manly outline of head; exhibiting, like most of his tribe, a European outline of features, signally worth the notice of the inquiring world. The head of this chief was most curiously ornamented, and his neck bore a profusion of wampum strings.” Catlin, like many in his day, believed some tribal groups may have originated in Europe.

Chief of the Kansas tribe, The Wolf was painted while Catlin was at Fort Leavenworth, a frontier military post in present-day Kansas. Catlin described the sitter as "a chief of some distinction, with a bold and manly outline of head; exhibiting, like most of his tribe, a European outline of features, signally worth the notice of the inquiring world. The head of this chief was most curiously ornamented, and his neck bore a profusion of wampum strings." Catlin, like many in his day, believed some tribal groups may have originated in Europe. Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Sho-me-kos-see, The Wolf, a chief Shó-me-kós-see, The Wolf, a Chief George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art 1985_66_220 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil 53.5 x 41.9 cm. 53.5 x 41.9 cm. Described by Catlin as "an ill-natured and insolent fellow who has since been killed for some of his murderous deeds" (Letters and Notes, vol. 2, p. 147, pl. 260). Probably painted in Washington in January 1831 (see no. 218). Charles Bird King did a similar portrait several years later (see Parke-Bernet catalogue), and Great Cloud appears again, full length, in cartoon 17 (NGA 2056), with his parents.

Described by Catlin as “an ill-natured and insolent fellow who has since been killed for some of his murderous deeds” (Letters and Notes, vol. 2, p. 147, pl. 260).

Probably painted in Washington in January 1831. Charles Bird King did a similar portrait several years later (see Parke-Bernet catalogue), and Great Cloud appears again, full length, in cartoon 17, with his parents.

Described by Catlin as “an ill-natured and insolent fellow who has since been killed for some of his murderous deeds” (Letters and Notes, vol. 2, p. 147, pl. 260).

Probably painted in Washington in January 1831 (see no. 218). Charles Bird King did a similar portrait several years later (see Parke-Bernet catalogue), and Great Cloud appears again, full length, in cartoon 17 (NGA 2056), with his parents.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Chee-me-nah-na-quet, Great Cloud, son of Grizzly Bear Chee-me-náh-na-quet, Great Cloud, son of Grizzly Bear George Catlin Object 1985_66_221 814 Catlin, George George Catlin 0 42 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney no 1796–1872 oil on canvas oil 53.5 x 41.9 cm. 53.5 x 41.9 cm. Described by Catlin as "a brave, with his medicine-wand, his looking-glass, and scissors" (1848 catalogue, p. 25). Probably painted in Washington in January 1831 (see no. 218).

Described by Catlin as “a brave, with his medicine-wand, his looking-glass, and scissors” (1848 catalogue, p. 25).

Probably painted in Washington in January 183.

Described by Catlin as “a brave, with his medicine-wand, his looking-glass, and scissors” (1848 catalogue, p. 25).

Probably painted in Washington in January 1831 (see no. 218).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ko-man-i-kin-o-haw, Little Whale, a brave Ko-mán-i-kin-o-haw, Little Whale, a Brave Late in the autumn of 1830, Catlin visited Washington and painted members of a delegation of Menominee who hailed from Michigan Territory. Little Whale holds "his medicine-wand, his looking-glass, and scissors," the latter two presumably gifts from his government hosts.

Late in the autumn of 1830, Catlin visited Washington and painted members of a delegation of Menominee who hailed from Michigan Territory. Little Whale holds "his medicine-wand, his looking-glass, and scissors," the latter two presumably gifts from his government hosts.

George Catlin Object Menominee Menominee 1985_66_222 814 Catlin, George George Catlin 0 237 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil 53.5 x 41.9 cm. 53.5 x 41.9 cm. According to an original certificate in Smithsonian files, The South (Sha-w‡-no) was painted at Prairie du Chien. No date is given, but one would have to assume 1830, rather than 1835, on the basis of style. Equally strong evidence points to January 1831 in Washington as the time and place of the portrait (see no. 218). Changing the date of one example in this series would make it necessary to change the date of others, but more reliable evidence is needed before this can be done. At least one of Catlin's "original" certificates is incorrect (see no. 189), and he confused the identity of other sitters (see no. 239).

According to an original certificate in Smithsonian files, The South (Sha-wá-no) was painted at Prairie du Chien. No date is given, but one would have to assume 1830, rather than 1835, on the basis of style. Equally strong evidence points to January 1831 in Washington as the time and place of the portrait. Changing the date of one example in this series would make it necessary to change the date of others, but more reliable evidence is needed before this can be done. At least one of Catlin's “original” certificates is incorrect, and he confused the identity of other sitters.

According to an original certificate in Smithsonian files, The South (Sha-wá-no) was painted at Prairie du Chien. No date is given, but one would have to assume 1830, rather than 1835, on the basis of style. Equally strong evidence points to January 1831 in Washington as the time and place of the portrait (see no. 218). Changing the date of one example in this series would make it necessary to change the date of others, but more reliable evidence is needed before this can be done. At least one of Catlin's “original” certificates is incorrect (see no. 189), and he confused the identity of other sitters (see no. 239).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). She-wa-no, The South, a noted warrior She-wá-no, The South, a Noted Warrior George Catlin Object Menominee Menominee 1985_66_223 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil 53.5 x 41.9 cm. 53.5 x 41.9 cm. Probably painted in Washington in January 1831 (see no. 218).

Probably painted in Washington in January 1831.

Probably painted in Washington in January 1831 (see no. 218).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mash-kee-wet, a great dandy Másh-kee-wet, a Great Dandy George Catlin Object 1985_66_224 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218).

Probably painted in Washington in January 1831.

Probably painted in Washington in January 1831 (see no. 218).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pah-shee-nau-shaw, a warrior Pah-shee-náu-shaw, a Warrior George Catlin Object 1985_66_225 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218), although McCracken says that Catlin encountered Great Chief on the trip to Pipestone Quarry in 1836. Numbers 232, 233, and 235-236 in the Menominee series may have been done at that time, but this portrait is clearly of a different style.

Probably painted in Washington in January 1831, although McCracken says that Catlin encountered Great Chief on the trip to Pipestone Quarry in 1836. Numbers 232, 233, and 230–236 in the Menominee series may have been done at that time, but this portrait is clearly of a different style.

Probably painted in Washington in January 1831 (see no. 218), although McCracken says that Catlin encountered Great Chief on the trip to Pipestone Quarry in 1836. Numbers 232, 233, and 230–236 in the Menominee series may have been done at that time, but this portrait is clearly of a different style.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Tcha-kauk-o-ko-maugh, Great Chief, a boy Tcha-káuk-o-ko-máugh, Great Chief, a Boy George Catlin Object 1985_66_226 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 5/8 in. 21 1/8 x 16 5/8 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218).

Probably painted in Washington in January 1831.

Probably painted in Washington in January 1831 (see no. 218).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Au-nah-kwet-to-hau-pay-o, One Sitting in the Clouds, a boy Aú-nah-kwet-to-hau-páy-o, One Sitting in the Clouds, a Boy George Catlin Object 1985_66_227 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218). The pigment surface was badly cracked and blistered before a recent restoration, and the effects are still noticeable.

Probably painted in Washington in January 1831. The pigment surface was badly cracked and blistered before a recent restoration, and the effects are still noticeable.

Probably painted in Washington in January 1831 (see no. 218). The pigment surface was badly cracked and blistered before a recent restoration, and the effects are still noticeable.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Auh-ka-nah-paw-wah, Earth Standing, and old and valiant warrior Aúh-ka-nah-paw-wáh, Earth Standing, and Old and Valiant Warrior George Catlin Object 1985_66_228 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218). Past damage to the portrait is considerable (see no. 227).

Probably painted in Washington in January 1831. Past damage to the portrait is considerable.

Probably painted in Washington in January 1831 (see no. 218). Past damage to the portrait is considerable (see no. 227).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ko-man-i-kin, Big Wave, an old and distinguished chief Ko-mán-i-kin, Big Wave, an Old and Distinguished Chief George Catlin Object 1985_66_229 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a hard-visaged warrior, of most remarkable distinction" (1848 catalogue, p. 26). Probably painted in Washington in January 1831 (see no. 218). Past damage to the portrait is considerable (see no. 227).

Described by Catlin as “a hard-visaged warrior, of most remarkable distinction” (1848 catalogue, p. 26).

Probably painted in Washington in January 1831. Past damage to the portrait is considerable.

Described by Catlin as “a hard-visaged warrior, of most remarkable distinction” (1848 catalogue, p. 26).

Probably painted in Washington in January 1831 (see no. 218). Past damage to the portrait is considerable (see no. 227).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). O-ho-pah-sha, Small Whoop, a distinguished warrior O-ho-páh-sha, Small Whoop, a Distinguished Warrior George Catlin Object 1985_66_23 814 Catlin, George George Catlin 0 318 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 183 2 (see no. 22). This portrait closely resembles plate 135 in Letters and Notes, and the possibility remains that it should be catalogued as number 27, Man of Good Sense, rather than number 23.

Probably painted at Fort Leavenworth in 1832. This portrait closely resembles plate 135 in Letters and Notes, and the possibility remains that it should be catalogued as Man Of Good Sense, rather than number 23.

Probably painted at Fort Leavenworth in 1832 (see no. 22). This portrait closely resembles plate 135 in Letters and Notes, and the possibility remains that it should be catalogued as number 27, Man Of Good Sense, rather than number 23.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Jee-he-o-ho-shah, Cannot Be Thrown Down, a warrior Jee-hé-o-hó-shah, Cannot Be Thrown Down, a Warrior George Catlin Object Kansas/Kaw Kansas/Kaw 1985_66_230 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/20/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in January 1831 (see no. 218).

Probably painted in Washington in January 1831.

Probably painted in Washington in January 1831 (see no. 218).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ah-yaw-ne-tah-c‡r-ron, a warrior Ah-yaw-ne-tah-cár-ron, a Warrior George Catlin Object 1985_66_232 814 Catlin, George George Catlin 0 288 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1836 1836 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a very aged and emaciated chief, whom I painted at Green Bay, in Fort Howard. He had been a distinguished man, but now in his dotage, being more than 100 years old-and a great pet of the surgeon and officers of the post" (Letters and Notes, vol. 2, pp. 14.7, 160, pl. 262). Painted in 1836 when Catlin stopped at Green Bay on his way to the Pipestone Quarry (see Letters and Notes). Donaldson's date is incorrect. Like the Eastern Sioux and Ojibwa portraits of 1835-1836, numbers 232, 233, and 235-236 in the Menominee series have standard dimensions (see nos. 209, 218), and the subjects are shown in quiet, relaxed attitudes. The careful draftsmanship of this painting is less typical of the series than the hasty contours of the numbers that follow. The Gilcrease and Smithsonian portraits are almost identical, but the face in the latter, as befits the original, is handled with greater conviction (see no. 151). The Owl also appears in cartoon 18 (NGA 2057), with two young men of the tribe.

Described by Catlin as “a very aged and emaciated chief, whom I painted at Green Bay, in Fort Howard. He had been a distinguished man, but now in his dotage, being more than 100 years old—and a great pet of the surgeon and officers of the post” (Letters and Notes, vol. 2, pp. 14.7, 160, pl. 262).

Painted in 1836 when Catlin stopped at Green Bay on his way to the Pipestone Quarry (see Letters and Notes). Donaldson's date is incorrect. Like the Eastern Sioux and Ojibwa portraits of 1830–1836, numbers 232, 233, and 230–236 in the Menominee series have standard dimensions, and the subjects are shown in quiet, relaxed attitudes. The careful draftsmanship of this painting is less typical of the series than the hasty contours of the numbers that follow.

The Gilcrease and Smithsonian portraits are almost identical, but the face in the latter, as befits the original, is handled with greater conviction. The Owl also appears in cartoon 18, with two young men of the tribe.

Described by Catlin as “a very aged and emaciated chief, whom I painted at Green Bay, in Fort Howard. He had been a distinguished man, but now in his dotage, being more than 100 years old—and a great pet of the surgeon and officers of the post” (Letters and Notes, vol. 2, pp. 14.7, 160, pl. 262).

Painted in 1836 when Catlin stopped at Green Bay on his way to the Pipestone Quarry (see Letters and Notes). Donaldson's date is incorrect. Like the Eastern Sioux and Ojibwa portraits of 1830–1836, numbers 232, 233, and 230–236 in the Menominee series have standard dimensions (see nos. 209, 218), and the subjects are shown in quiet, relaxed attitudes. The careful draftsmanship of this painting is less typical of the series than the hasty contours of the numbers that follow.

The Gilcrease and Smithsonian portraits are almost identical, but the face in the latter, as befits the original, is handled with greater conviction (see no. 151). The Owl also appears in cartoon 18 (NGA 2057), with two young men of the tribe.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). The Owl, an aged chief Coo-coo-coo, The Owl, an Aged Chief George Catlin Object Menominee Menominee 1985_66_233 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/20/02 29 x 24 in. 29 x 24 in. 1835 or 1836 1835 or 1836 George Gurney 1796–1872 oil on canvas oil Probably painted at Prairie du Chien or Green Bay in 1835 or 1836 (see no. 232). The figure in the Gilcrease watercolor is three-quarter length and wears a feather headdress (see no. 15 1). W‡h-chees supposedly appears again in cartoon 18 (NGA 205 7), but the designated figure actually matches one of two young men in number 235-236.

Probably painted at Prairie du Chien or Green Bay in 1835 or 1836. The figure in the Gilcrease watercolor is three-quarter length and wears a feather headdress.

Wáh-chees supposedly appears again in cartoon 18, but the designated figure actually matches one of two young men in number 230–236.

Probably painted at Prairie du Chien or Green Bay in 1835 or 1836 (see no. 232). The figure in the Gilcrease watercolor is three-quarter length and wears a feather headdress (see no. 151).

Wáh-chees supposedly appears again in cartoon 18 (NGA 2057), but the designated figure actually matches one of two young men in number 230–236.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). W‡h-chees, a brave Wáh-chees, a Brave George Catlin Object 1985_66_235_236 814 Catlin, George George Catlin 0 283 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1835 or 1836 1835 or 1836 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "two Menominee youths at full length, in beautiful dresses. . . one with his war-club in his hand, and the other blowing on his 'courting flute' " (Letters and Notes, vol. 2, p. 14 7, pl. 263). Probably painted at Prairie du Chien or Green Bay in 1835 or 1836 (see no. 232). The two figures appear again in cartoon 18 (NGA 2057), although Catlin has mislabeled them (see nos. 233, 234, 210).

Described by Catlin as “two Menominee youths at full length, in beautiful dresses … one with his war-club in his hand, and the other blowing on his ‘courting flute’ ” (Letters and Notes, vol. 2, p. 147, pl. 263).

Probably painted at Prairie du Chien or Green Bay in 1835 or 1836. The two figures appear again in cartoon 18, although Catlin has mislabeled them.

Described by Catlin as “two Menominee youths at full length, in beautiful dresses … one with his war-club in his hand, and the other blowing on his ‘courting flute’ ” (Letters and Notes, vol. 2, p. 147, pl. 263).

Probably painted at Prairie du Chien or Green Bay in 1835 or 1836 (see no. 232). The two figures appear again in cartoon 18 (NGA 2057), although Catlin has mislabeled them (see nos. 233, 234, 210).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Two Young Men Two Young Men George Catlin Object Menominee Menominee 1985_66_237 814 Catlin, George George Catlin 0 251 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Catlin describes The Sauk as "in the act of praying; his prayer written in characters on a maple stick" (1848 catalogue, p. 26). See number 240. Probably painted at Fort Leavenworth in 1830. No mention is made of Catlin visiting the Potawatomi in Illinois or Indiana. As the tribe was in the process of removing to lands near the fort, one would assume that numbers 237 through 239 were painted there, although neither Haberly nor more recent scholars (Ewers, McCracken, and Roehm) off er evidence to support their claim that Catlin and General Clark traveled together through Kansas in 1830 (see no. 22). The artist was in the St. Louis area that summer and fall, however, and it is possible that he could have made the trip to Leavenworth without attracting local attention. Records of the Bureau of Indian Aff airs show that at least two subjects (nos. 248, 279) Catlin painted among these Great Lakes tribes were already living west of the Mississippi in 1830. The technique of the Potawatomi portraits is much superior to the Winnebago series (nos 209-17), but less assured than the vigorous Upper Missouri portraits of 1832. Thus, a date of 1830 seems reasonable for Catlin's visit to this tribe, and other Great Lakes tribes who were then settling near Fort Leavenworth. It must be acknowledged, however, that the artist made a welldocumented stop at the fort on his voyage down the Missouri in 1832, and he later claimed that he visited the Kansa villages, beyond Leavenworth, in the spring of 1831, although his travel recollections are notoriously inaccurate (see nos. 31, 99). Catlin's rapid improvement over these years is manifest in annual styles that may be a more dependable guide to the dates and locations of his paintings than any previously proposed schedule of his travels. The Sauk's right hand and his necklaces have been omitted from the Gilcrease portrait, but feathers and braids have been added to his hair. The Smithsonian original is identical to plate 189 in Letters and Notes, and is a more vital and convincing likeness than the Gilcrease watercolor (see no. 232). The Sauk also appears, full length, in cartoon 73 (NGA 2080).

Catlin describes The Sauk as “in the act of praying; his prayer written in characters on a maple stick” (1848 catalogue, p. 26).

Probably painted at Fort Leavenworth in 1830. No mention is made of Catlin visiting the Potawatomi in Illinois or Indiana. As the tribe was in the process of removing to lands near the fort, one would assume that numbers 237 through 239 were painted there, although neither Haberly nor more recent scholars (Ewers, McCracken, and Roehm) off er evidence to support their claim that Catlin and General Clark traveled together through Kansas in 1830. The artist was in the St. Louis area that summer and fall, however, and it is possible that he could have made the trip to Leavenworth without attracting local attention. Records of the Bureau of Indian Aff airs show that at least two subjects Catlin painted among these Great Lakes tribes were already living west of the Mississippi in 1830.

The technique of the Potawatomi portraits is much superior to the Winnebago series, but less assured than the vigorous Upper Missouri portraits of 1832. Thus, a date of 1830 seems reasonable for Catlin's visit to this tribe, and other Great Lakes tribes who were then settling near Fort Leavenworth. It must be acknowledged, however, that the artist made a welldocumented stop at the fort on his voyage down the Missouri in 1832, and he later claimed that he visited the Kansa villages, beyond Leavenworth, in the spring of 1831, although his travel recollections are notoriously inaccurate. Catlin's rapid improvement over these years is manifest in annual styles that may be a more dependable guide to the dates and locations of his paintings than any previously proposed schedule of his travels.

The Sauk's right hand and his necklaces have been omitted from the Gilcrease portrait, but feathers and braids have been added to his hair. The Smithsonian original is identical to plate 189 in Letters and Notes, and is a more vital and convincing likeness than the Gilcrease watercolor. The Sauk also appears, full length, in cartoon 73.

Catlin describes The Sauk as “in the act of praying; his prayer written in characters on a maple stick” (1848 catalogue, p. 26). See number 240.

Probably painted at Fort Leavenworth in 1830. No mention is made of Catlin visiting the Potawatomi in Illinois or Indiana. As the tribe was in the process of removing to lands near the fort, one would assume that numbers 237 through 239 were painted there, although neither Haberly nor more recent scholars (Ewers, McCracken, and Roehm) off er evidence to support their claim that Catlin and General Clark traveled together through Kansas in 1830 (see no. 22). The artist was in the St. Louis area that summer and fall, however, and it is possible that he could have made the trip to Leavenworth without attracting local attention. Records of the Bureau of Indian Aff airs show that at least two subjects (nos. 248, 279) Catlin painted among these Great Lakes tribes were already living west of the Mississippi in 1830.

The technique of the Potawatomi portraits is much superior to the Winnebago series (nos 200–17), but less assured than the vigorous Upper Missouri portraits of 1832. Thus, a date of 1830 seems reasonable for Catlin's visit to this tribe, and other Great Lakes tribes who were then settling near Fort Leavenworth. It must be acknowledged, however, that the artist made a welldocumented stop at the fort on his voyage down the Missouri in 1832, and he later claimed that he visited the Kansa villages, beyond Leavenworth, in the spring of 1831, although his travel recollections are notoriously inaccurate (see nos. 31, 99). Catlin's rapid improvement over these years is manifest in annual styles that may be a more dependable guide to the dates and locations of his paintings than any previously proposed schedule of his travels.

The Sauk's right hand and his necklaces have been omitted from the Gilcrease portrait, but feathers and braids have been added to his hair. The Smithsonian original is identical to plate 189 in Letters and Notes, and is a more vital and convincing likeness than the Gilcrease watercolor (see no. 232). The Sauk also appears, full length, in cartoon 73 (NGA 2080).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). The Sauk, in the act of praying On-sáw-kie, The Sauk, in the Act of Praying George Catlin Object Potawatomi/Prairie Band Potawatomi/Prairie Band 1985_66_238 814 Catlin, George George Catlin 0 398 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 1830 (see no. 237). Catlin still could not represent crossed arms in their proper position. The subject is only bust length in the Gilcrease portrait, and the feathers project from his headdress at a different angle. Plate 190 in Letters and Notes is similar to the Smithsonian original. The subject appears again, full length, in cartoon 73 (NGA 2080).

Probably painted at Fort Leavenworth in 1830. Catlin still could not represent crossed arms in their proper position.

The subject is only bust length in the Gilcrease portrait, and the feathers project from his headdress at a different angle. Plate 190 in Letters and Notes is similar to the Smithsonian original. The subject appears again, full length, in cartoon 73.

Probably painted at Fort Leavenworth in 1830 (see no. 237). Catlin still could not represent crossed arms in their proper position.

The subject is only bust length in the Gilcrease portrait, and the feathers project from his headdress at a different angle. Plate 190 in Letters and Notes is similar to the Smithsonian original. The subject appears again, full length, in cartoon 73 (NGA 2080).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Na-pow-sa, Bear Traveling at Night, a chief Na-pów-sa, Bear Traveling at Night, a Chief George Catlin Object Potawatomi/Prairie Band Potawatomi/Prairie Band 1985_66_24 see previous 814 Catlin, George George Catlin 0 56 National Museum of American Art, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/31/02 29 x 24 29 x 24 in. 1832 1832 in CAT George Gurney no 1796–1872 oil on canvas oil 73.7 x 60.9 cm. 73.7 x 60.9 cm. Catlin says that No Fool "used half the day in painting his face, preparing to sit for his picture" (Letters and Notes, vol. 2, p. 23, pl. 136). Probably painted at Fort Leavenworth in 1832. No Fool also appears, full length, in cartoon 1.

Catlin says that No Fool “used half the day in painting his face, preparing to sit for his picture” (Letters and Notes, vol. 2, p. 23, pl. 136).

Probably painted at Fort Leavenworth in 1832. No Fool also appears, full length, in cartoon 1.

Catlin says that No Fool “used half the day in painting his face, preparing to sit for his picture” (Letters and Notes, vol. 2, p. 23, pl. 136).

Probably painted at Fort Leavenworth in 1832 (see no. 22). No Fool also appears, full length, in cartoon I (NGA 2269).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wa-hon-ga-shee, No Fool, a Great Fop Wá-hón-ga-shee, No Fool, a Great Fop Catlin's early practice as a miniaturist had a lasting effect on his art. Miniature painters focused their attention on a sitter's head and shoulders---there was little room for anything else in their tiny pictures. No Fool, who "used half the day in painting his face, preparing to sit for his picture," was a subject well suited to Catlin's skills.

Catlin's early practice as a miniaturist had a lasting effect on his art. Miniature painters focused their attention on a sitter's head and shoulders–there was little room for anything else in their tiny pictures. No Fool, who "used half the day in painting his face, preparing to sit for his picture," was a subject well suited to Catlin's skills.

George Catlin Object San Antonio, Texas 13-Aug-00 September, 2002 Akron, Ohio 26-Nov-00 9-Sep-00 Iowa City, Iowa 18-Mar-01 20-Jan-01 Orlando, Florida 10-Jun-01 14-Apr-01 Smithsonian American Art Museum Akron Art Museum University of Iowa Museum of Art Orlando Museum of Art Kansas/Kaw Kansas/Kaw 1985_66_240 814 Catlin, George George Catlin 0 39 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil The present chief of this tribe . . . usually called the . . . Prophet, is a very shrewd and talented man. When he sat for his portrait, he took his attitude as seen in the picture, which was that of prayer. And I soon learned that he was a very devoted Christian. . . . It was told to me in the tribe by the Traders (though I am afraid to vouch for the whole truth of it), that while a Methodist preacher was soliciting him for permission to preach in his village, the Prophet refused him the privilege, but secretly took him aside and supported him until he learned from him his creed, and his system of teaching it to others; when he discharged him, and commenced preaching amongst his people himself; pretending to have had an interview with some . . . inspired personage; ingeniously resolving, that if there was any honour . . . or influence to be gained by the promulgation of it, he might as well have it as another person; and with this view he commenced preaching and instituted a prayer, which he ingeniously carved on a maplestick of an inch and a half in breadth, in characters somewhat resembling Chinese letters. These sticks, with the prayers on them, he has introduced into every f amily of the tribe, and into the hands of every individual; and as he has necessarily the manufacturing of them all, he sells them at his own price; and has thus added lucre to fame, and in two essential and effective ways, augmented his influence in his tribe (Letters and Notes, vol. 2, pp. 98-99, pl. 185). Probably painted at Fort Leavenworth in 1830 (see no. 237). Catlin makes no mention of visiting the Kickapoo in Illinois. Foremost Man must at first have been shown delivering a sermon, such as the one mentioned in Letters and Notes. The gesturing hands have been overpainted by the artist in the Smithsonian portrait, but they remain, ill-proportioned and awkwardly poised, in plate 185 of Letters and Notes and the Gilcrease watercolor. The Smithsonian portrait and plate 185 are otherwise identical, but the subject wears a feather headdress in the Gilcrease watercolor. Foremost Man is incorrectly identified as Kee-mo-ra-nia (No English, no. 253) in the Gilcrease catalogue and Haverstock. He appears again, full length and with gesturing hands, in cartoon 72 (NGA 2079), accompanied by his wife (no. 244) and a Kickapoo disciple.

“The present chief of this tribe … usually called the … Prophet, is a very shrewd and talented man. When he sat for his portrait, he took his attitude as seen in the picture, which was that of prayer. And I soon learned that he was a very devoted Christian. … It was told to me in the tribe by the Traders (though I am afraid to vouch for the whole truth of it), that while a Methodist preacher was soliciting him for permission to preach in his village, the Prophet refused him the privilege, but secretly took him aside and supported him until he learned from him his creed, and his system of teaching it to others; when he discharged him, and commenced preaching amongst his people himself; pretending to have had an interview with some … inspired personage; ingeniously resolving, that if there was any honour … or influence to be gained by the promulgation of it, he might as well have it as another person; and with this view he commenced preaching and instituted a prayer, which he ingeniously carved on a maplestick of an inch and a half in breadth, in characters somewhat resembling Chinese letters. These sticks, with the prayers on them, he has introduced into every f amily of the tribe, and into the hands of every individual; and as he has necessarily the manufacturing of them all, he sells them at his own price; and has thus added lucre to fame, and in two essential and effective ways, augmented his influence in his tribe” (Letters and Notes, vol. 2, pp. 90–99, pl. 185).

Probably painted at Fort Leavenworth in 1830. Catlin makes no mention of visiting the Kickapoo in Illinois.

Foremost Man must at first have been shown delivering a sermon, such as the one mentioned in Letters and Notes. The gesturing hands have been overpainted by the artist in the Smithsonian portrait, but they remain, ill-proportioned and awkwardly poised, in plate 185 of Letters and Notes and the Gilcrease watercolor. The Smithsonian portrait and plate 185 are otherwise identical, but the subject wears a feather headdress in the Gilcrease watercolor.

Foremost Man is incorrectly identified as Kee-mo-ra-nia (No English) in the Gilcrease catalogue and Haverstock. He appears again, full length and with gesturing hands, in cartoon 72, accompanied by his wife and a Kickapoo disciple.

“The present chief of this tribe … usually called the … Prophet, is a very shrewd and talented man. When he sat for his portrait, he took his attitude as seen in the picture, which was that of prayer. And I soon learned that he was a very devoted Christian. … It was told to me in the tribe by the Traders (though I am afraid to vouch for the whole truth of it), that while a Methodist preacher was soliciting him for permission to preach in his village, the Prophet refused him the privilege, but secretly took him aside and supported him until he learned from him his creed, and his system of teaching it to others; when he discharged him, and commenced preaching amongst his people himself; pretending to have had an interview with some … inspired personage; ingeniously resolving, that if there was any honour … or influence to be gained by the promulgation of it, he might as well have it as another person; and with this view he commenced preaching and instituted a prayer, which he ingeniously carved on a maplestick of an inch and a half in breadth, in characters somewhat resembling Chinese letters. These sticks, with the prayers on them, he has introduced into every f amily of the tribe, and into the hands of every individual; and as he has necessarily the manufacturing of them all, he sells them at his own price; and has thus added lucre to fame, and in two essential and effective ways, augmented his influence in his tribe” (Letters and Notes, vol. 2, pp. 90–99, pl. 185).

Probably painted at Fort Leavenworth in 1830 (see no. 237). Catlin makes no mention of visiting the Kickapoo in Illinois.

Foremost Man must at first have been shown delivering a sermon, such as the one mentioned in Letters and Notes. The gesturing hands have been overpainted by the artist in the Smithsonian portrait, but they remain, ill-proportioned and awkwardly poised, in plate 185 of Letters and Notes and the Gilcrease watercolor. The Smithsonian portrait and plate 185 are otherwise identical, but the subject wears a feather headdress in the Gilcrease watercolor.

Foremost Man is incorrectly identified as Kee-mo-ra-nia (No English, no. 253) in the Gilcrease catalogue and Haverstock. He appears again, full length and with gesturing hands, in cartoon 72 (NGA 2079), accompanied by his wife (no. 244) and a Kickapoo disciple.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kee-an-ne-kuk, Foremost Man, chief of the tribe Kee-án-ne-kuk, Foremost Man, Chief of the Tribe George Catlin Object Kickapoo Kickapoo 1985_66_241 814 Catlin, George George Catlin 0 40 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney no 1796–1872 oil on canvas oil Described by Catlin as "another Kickapoo of some distinction, and a disciple of the Prophet [no. 240]; in the attitude of prayer also, which he is reading off from characters cut upon a stick that he holds in his hands" (Letters and Notes, vol. 2, p. 98, pl. 186). Probably painted at Fort Leavenworth in 1830 (see no. 237). The portrait of Cock Turkey is either one of Catlin's best efforts at the fort that year, or it was mostly finished at a later date. The motif of the prayer stick, repeated in other Potawatomi and Kickapoo portraits, would probably indicate a date of 1830, but the hands are so skillfully articulated that one wonders why those of the Prophet (no. 240) came off so badly. The head is modeled with broad, flowing strokes that gracefully define the skull structure and facial features, a technique not often used by the artist before 1832, and the decorative tufts on the dress of the subject have been painted with astonishing speed and facility (see no. 245). Cock Turkey's costume in the Gilcrease watercolor (fig. 144) lacks many of the details that enliven the Smithsonian portrait. He appears again, full length, in cartoon 72 (NGA 2079).

Described by Catlin as “another Kickapoo of some distinction, and a disciple of the Prophet; in the attitude of prayer also, which he is reading off from characters cut upon a stick that he holds in his hands” (Letters and Notes, vol. 2, p. 98, pl. 186).

Probably painted at Fort Leavenworth in 1830. The portrait of Cock Turkey is either one of Catlin's best efforts at the fort that year, or it was mostly finished at a later date. The motif of the prayer stick, repeated in other Potawatomi and Kickapoo portraits, would probably indicate a date of 1830, but the hands are so skillfully articulated that one wonders why those of the Prophet came off so badly. The head is modeled with broad, flowing strokes that gracefully define the skull structure and facial features, a technique not often used by the artist before 1832, and the decorative tufts on the dress of the subject have been painted with astonishing speed and facility.

Cock Turkey's costume in the Gilcrease watercolor lacks many of the details that enliven the Smithsonian portrait. He appears again, full length, in cartoon 72.

Described by Catlin as “another Kickapoo of some distinction, and a disciple of the Prophet [no. 240]; in the attitude of prayer also, which he is reading off from characters cut upon a stick that he holds in his hands” (Letters and Notes, vol. 2, p. 98, pl. 186).

Probably painted at Fort Leavenworth in 1830 (see no. 237). The portrait of Cock Turkey is either one of Catlin's best efforts at the fort that year, or it was mostly finished at a later date. The motif of the prayer stick, repeated in other Potawatomi and Kickapoo portraits, would probably indicate a date of 1830, but the hands are so skillfully articulated that one wonders why those of the Prophet (no. 240) came off so badly. The head is modeled with broad, flowing strokes that gracefully define the skull structure and facial features, a technique not often used by the artist before 1832, and the decorative tufts on the dress of the subject have been painted with astonishing speed and facility (see no. 245).

Cock Turkey's costume in the Gilcrease watercolor (fig. 144) lacks many of the details that enliven the Smithsonian portrait. He appears again, full length, in cartoon 72 (NGA 2079).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ah-ton-we-tuck, Cock Turkey, repeating his prayer Ah-tón-we-tuck, Cock Turkey, Repeating his Prayer The Kickapoos were in the process of leaving their native land in Illinois for a reservation near Leavenworth when Catlin painted Cock Turkey. Cock Turkey's prayer stick was used for twice-daily recitations of a prayer adapted from the teachings of a Methodist missionary.

The Kickapoos were in the process of leaving their native land in Illinois for a reservation near Leavenworth when Catlin painted Cock Turkey. Cock Turkey's prayer stick was used for twice-daily recitations of a prayer adapted from the teachings of a Methodist missionary.

George Catlin Object kickapoo Kickapoo 1985_66_242 814 Catlin, George George Catlin 0 234 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a Sub-Chief, in the act of prayer" (1848 catalogue, p. 27). See number 240. Probably painted at Fort Leavenworth in 1830 (see no. 237). The Gilcrease watercolor again lacks the costume details of the Smithsonian original, and the date on the watercolor is not reliable (see no. 46).

Described by Catlin as “a Sub-Chief, in the act of prayer” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830. The Gilcrease watercolor again lacks the costume details of the Smithsonian original, and the date on the watercolor is not reliable.

Described by Catlin as “a Sub-Chief, in the act of prayer” (1848 catalogue, p. 27). See number 240.

Probably painted at Fort Leavenworth in 1830 (see no. 237). The Gilcrease watercolor again lacks the costume details of the Smithsonian original, and the date on the watercolor is not reliable (see no. 46).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ma-shee-na, Elk's Horn, a subchief Ma-shée-na, Elk's Horns, a Subchief George Catlin Object Kickapoo Kickapoo 1985_66_243 814 Catlin, George George Catlin 0 366 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Catlin describes the subject as having "wampum on his neck and [a] red flag in his hand, the symbol of war or 'blood' " (1848 catalogue, p. 27). Probably painted at Fort Leavenworth in 1830 (see no. 237). The appearance of Big Bear's costume suggests that Catlin's broad brushwork was sometimes out of control in this period. The figure in the Gilcrease watercolor is only bust length, and he wears a somewhat different costume and headdress (see no. 242).

Described by Catlin as “a Sub-Chief, in the act of prayer” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830. The Gilcrease watercolor again lacks the costume details of the Smithsonian original, and the date on the watercolor is not reliable.

Described by Catlin as “a Sub-Chief, in the act of prayer” (1848 catalogue, p. 27). See number 240.

Probably painted at Fort Leavenworth in 1830 (see no. 237). The Gilcrease watercolor again lacks the costume details of the Smithsonian original, and the date on the watercolor is not reliable (see no. 46).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ke-chim-qua, Big Bear Ke-chím-qua, Big Bear George Catlin Object Kickapoo Kickapoo 1985_66_244 814 Catlin, George George Catlin 0 6 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Described by Catlin as a "woman, with wampum and silver brooches in profusion on her neck" (1848 catalogue, p. 27). Probably painted at Fort Leavenworth in 1830 (see no. 237). The subject holds a prayer stick, in place of her fan, in the Gilcrease watercolor. She is supposed to appear again in cartoon 72 (NGA 2079), but there is no apparent relation between the designated figure and the Smithsonian portrait. Catlin identifies her as the wife of the Prophet (no. 240) in the 1871 catalogue.

Described by Catlin as a “woman, with wampum and silver brooches in profusion on her neck” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830. The subject holds a prayer stick, in place of her fan, in the Gilcrease watercolor. She is supposed to appear again in cartoon 72, but there is no apparent relation between the designated figure and the Smithsonian portrait. Catlin identifies her as the wife of the Prophet in the 1871 catalogue.

Described by Catlin as a “woman, with wampum and silver brooches in profusion on her neck” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830 (see no. 237). The subject holds a prayer stick, in place of her fan, in the Gilcrease watercolor. She is supposed to appear again in cartoon 72 (NGA 2079), but there is no apparent relation between the designated figure and the Smithsonian portrait. Catlin identifies her as the wife of the Prophet (no. 240) in the 1871 catalogue.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). A'h-tee-wat-o-mee, a woman A'h-tee-wát-o-mee, a Woman George Catlin Object Kickapoo 1985_66_245 814 Catlin, George George Catlin 0 1 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil The subject is described as a woman in Letters and Notes (vol. 2, p . 99), but no qualifying remarks follow the entry in the 1848 catalogue (p. 27). Probably painted at Fort Leavenworth in 1830 (see no. 237). Note the similar, but more skillfully executed tufts on the dress of Cock Turkey (no. 24 1).

The subject is described as a woman in Letters and Notes (vol. 2, p . 99), but no qualifying remarks follow the entry in the 1848 catalogue (p. 27).

Probably painted at Fort Leavenworth in 1830. Note the similar, but more skillfully executed tufts on the dress of Cock Turkey .

The subject is described as a woman in Letters and Notes (vol. 2, p . 99), but no qualifying remarks follow the entry in the 1848 catalogue (p. 27).

Probably painted at Fort Leavenworth in 1830 (see no. 237). Note the similar, but more skillfully executed tufts on the dress of Cock Turkey (no. 241).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Shee-nah-wee Shee-náh-wee George Catlin Object Kickapoo 1985_66_246 814 Catlin, George George Catlin 0 38 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney yes 1796–1872 oil on canvas oil Catlin describes the subject as "half -civilized, and, I should think, half-breed. . . This young man is chief of the tribe; and I was told by one of the Traders, that his mother and his son, were his only subjects" (Letters and Notes, vol. 2, p. 100, pl. 191). Probably painted at Fort Leavenworth in 1830 (see no. 237). Donaldson suggests the right location but wrong date. Catlin often used a more conventional pose in his portraits of civilized Indians. Little Chief is shown half-length in the Gilcrease watercolor, and he appears again, full length, in cartoon 50 (NGA 2061), with his mother (no. 247) and child.

Catlin describes the subject as “half-civilized, and, I should think, half-breed … This young man is chief of the tribe; and I was told by one of the Traders, that his mother and his son, were his only subjects” (Letters and Notes, vol. 2, p. 100, pl. 191).

Probably painted at Fort Leavenworth in 1830. Donaldson suggests the right location but wrong date.

Catlin often used a more conventional pose in his portraits of civilized Indians. Little Chief is shown half-length in the Gilcrease watercolor, and he appears again, full length, in cartoon 50, with his mother and child.

Catlin describes the subject as “half-civilized, and, I should think, half-breed … This young man is chief of the tribe; and I was told by one of the Traders, that his mother and his son, were his only subjects” (Letters and Notes, vol. 2, p. 100, pl. 191).

Probably painted at Fort Leavenworth in 1830 (see no. 237). Donaldson suggests the right location but wrong date.

Catlin often used a more conventional pose in his portraits of civilized Indians. Little Chief is shown half-length in the Gilcrease watercolor, and he appears again, full length, in cartoon 50 (NGA 2061), with his mother (no. 247) and child.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kee-mon-saw, Little Chief, a chief Kee-món-saw, Little Chief, a Chief Little Chief, a Kaskaskia, was one of Catlin's first subjects in the West. Little Chief was not, however, a member of a western tribe, as his dark suit, white shirt, and cravat suggest. Well before Congress passed the Indian Removal Act in 1830, the government had entered the business of removing eastern tribes from their ancestral lands to reservations west of the Mississippi. The Kaskaskia had already ceded their land in Illinois and were living south of Fort Leavenworth, Kansas, when Catlin made his first western tour in 1830. Catlin described Little Chief as "half-civilized, and, I should think, half-breed," the result of more than a century of contact between the Kaskaskia and European traders.

Little Chief, a Kaskaskia, was one of Catlin's first subjects in the West. Little Chief was not, however, a member of a western tribe, as his dark suit, white shirt, and cravat suggest. Well before Congress passed the Indian Removal Act in 1830, the government had entered the business of removing eastern tribes from their ancestral lands to reservations west of the Mississippi. The Kaskaskia had already ceded their land in Illinois and were living south of Fort Leavenworth, Kansas, when Catlin made his first western tour in 1830. Catlin described Little Chief as "half-civilized, and, I should think, half-breed," the result of more than a century of contact between the Kaskaskia and European traders.

4 George Catlin Object Kaskaskia/Miami Kaskaskia/Miami 1985_66_247 814 Catlin, George George Catlin 0 233 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a very aged woman" (Letters and Notes, vol. 2, p. 100, pl. 192). Probably painted at Fort Leavenworth in 1830 (see no. 237). Only the necklace arrangement differs between the Gilcrease and Smithsonian portraits. The subject appears again, full length, in cartoon 50 (NGA 2061), with her son (no. 246).

Described by Catlin as “a very aged woman” (Letters and Notes, vol. 2, p. 100, pl. 192).

Probably painted at Fort Leavenworth in 1830. Only the necklace arrangement differs between the Gilcrease and Smithsonian portraits.

The subject appears again, full length, in cartoon 50, with her son.

Described by Catlin as “a very aged woman” (Letters and Notes, vol. 2, p. 100, pl. 192).

Probably painted at Fort Leavenworth in 1830 (see no. 237). Only the necklace arrangement differs between the Gilcrease and Smithsonian portraits.

The subject appears again, full length, in cartoon 50 (NGA 2061), with her son (no. 246).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-pe-seh-see, mother of the chief Wah-pe-séh-see, Mother of the Chief George Catlin Object Kaskaskia/Miami Kaskaskia/Miami 1985_66_248 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil The subject is described by Catlin as having an "intelligent European head," and holding a hatchet in his hand (Letters and Notes, vol. 2, p. 99, pl. 187; 1848 catalogue, p. 27). Probably painted at Fort Leavenworth in 1830 (see nos. 237, 279; records of the Bureau of Indian Affairs show that the subject was living west of the Mississippi by that year). Donaldson suggests the right location but wrong date. The broad sweeps of pigment are close to the technique Catlin used in the Potawatomi and Kickapoo portraits. The subject is bust length in the Gilcrease watercolor, and his features have a somewhat different appearance than in the Smithsonian original, which matches plate 187 in Letters and Notes. He appears again, full length, in cartoon 66 (NGA 2075), with a Wea warrior and a woman.

The subject is described by Catlin as having an “intelligent European head,” and holding a hatchet in his hand (Letters and Notes, vol. 2, p. 99, pl. 187; 1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830 (records of the Bureau of Indian Affairs show that the subject was living west of the Mississippi by that year). Donaldson suggests the right location but wrong date. The broad sweeps of pigment are close to the technique Catlin used in the Potawatomi and Kickapoo portraits.

The subject is bust length in the Gilcrease watercolor, and his features have a somewhat different appearance than in the Smithsonian original, which matches plate 187 in Letters and Notes. He appears again, full length, in cartoon 66 , with a Wea warrior and a woman.

The subject is described by Catlin as having an “intelligent European head,” and holding a hatchet in his hand (Letters and Notes, vol. 2, p. 99, pl. 187; 1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830 (see nos. 237, 279; records of the Bureau of Indian Affairs show that the subject was living west of the Mississippi by that year). Donaldson suggests the right location but wrong date. The broad sweeps of pigment are close to the technique Catlin used in the Potawatomi and Kickapoo portraits.

The subject is bust length in the Gilcrease watercolor, and his features have a somewhat different appearance than in the Smithsonian original, which matches plate 187 in Letters and Notes. He appears again, full length, in cartoon 66 (NGA 2075), with a Wea warrior and a woman.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Go-to-kow-pah-ah, Stands by Himself, a distinguished brave Go-to-ków-páh-ah, Stands by Himself, a Distinguished Brave George Catlin Object Wea/Miami 1985_66_249 814 Catlin, George George Catlin 0 360 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Described by Catlin as a woman in the 1837 catalogue (no. 271), and as a "fine-looking fellow, with an European countenance" in the 1848 catalogue (p. 27). See number 245. Probably painted at Fort Leavenworth in 1830 (see nos. 237, 248). The Swan is bust length in the Gilcrease watercolor, and without face paint. The Smithsonian portrait matches plate 188 in Letters and Notes. The subject appears again, full length, in cartoon 66 (NGA 2075).

Described by Catlin as a woman in the 1837 catalogue, and as a “fine-looking fellow, with an European countenance” in the 1848 catalogue (p. 27).

Probably painted at Fort Leavenworth in 1830. The Swan is bust length in the Gilcrease watercolor, and without face paint. The Smithsonian portrait matches plate 188 in Letters and Notes.

The subject appears again, full length, in cartoon 66.

Described by Catlin as a woman in the 1837 catalogue (no. 271), and as a “fine-looking fellow, with an European countenance” in the 1848 catalogue (p. 27). See number 245.

Probably painted at Fort Leavenworth in 1830 (see nos. 237, 248). The Swan is bust length in the Gilcrease watercolor, and without face paint. The Smithsonian portrait matches plate 188 in Letters and Notes.

The subject appears again, full length, in cartoon 66 (NGA 2075).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wah-pon-jee-a,The Swan, a warrior Wah-pón-jee-a, The Swan, a Warrior George Catlin Object Wea/Miami Wea/Miami 1985_66_25 814 Catlin, George George Catlin 0 232 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Catlin describes the subject's head as having a "bold and Roman outline" (Letters and Notes, vol. 2, p. 23, pl. 134). Probably painted at Fort Leavenworth in 1832 (see no. 22). The Smithsonian oil and the Gilcrease watercolor are identical in detail, but the face of the former is more forcefully modeled, indicating its status as the life portrait. Little White Bear also appears, full length, in cartoon 1 (NGA 2269).

Catlin describes the subject's head as having a “bold and Roman outline” (Letters and Notes, vol. 2, p. 23, pl. 134).

Probably painted at Fort Leavenworth in 1832. The Smithsonian oil and the Gilcrease watercolor are identical in detail, but the face of the former is more forcefully modeled, indicating its status as the life portrait.

Little White Bear also appears, full length, in cartoon 1.

Catlin describes the subject's head as having a “bold and Roman outline” (Letters and Notes, vol. 2, p. 23, pl. 134).

Probably painted at Fort Leavenworth in 1832 (see no. 22). The Smithsonian oil and the Gilcrease watercolor are identical in detail, but the face of the former is more forcefully modeled, indicating its status as the life portrait.

Little White Bear also appears, full length, in cartoon 1 (NGA 2269).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Meach-o-shin-gaw, Little White Bear, a distinguished brave Meach-o-shín-gaw, Little White Bear, a Distinguished Brave George Catlin Object Kansas/Kaw Kansas/Kaw 1985_66_251 814 Catlin, George George Catlin 0 282 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Of this tribe I painted the portraits of . . . [Man Who Tracks and No English, no. 253]. These are said to be the most influential men in the tribe, and both were very curiously and well dressed, in articles of civilized manufacture (Letters and Notes, vol. 2, p. 101, pl. 193). Catlin further describes the subject as having a "remarkably fine head" (1848 catalogue, p. 27). Probably painted at Fort Leavenworth in 1830 (see no. 237). The broad sweeps of pigment are again close to the technique used by Catlin in the Potawatomi and Kickapoo portraits (see no. 248). Although the subject is only half-length and costume details are somewhat different, the Gilcrease watercolor is a close interpretation of the Smithsonian original. The latter matches plate 193 in Letters and Notes. Man Who Tracks appears again, full length, in cartoon 58 (NGA 2067), with his wife and a Peoria "dandy."

“Of this tribe I painted the portraits of … [Man Who Tracks and No English]. These are said to be the most influential men in the tribe, and both were very curiously and well dressed, in articles of civilized manufacture” (Letters and Notes, vol. 2, p. 101, pl. 193).

Catlin further describes the subject as having a “remarkably fine head” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830. The broad sweeps of pigment are again close to the technique used by Catlin in the Potawatomi and Kickapoo portraits.

Although the subject is only half-length and costume details are somewhat different, the Gilcrease watercolor is a close interpretation of the Smithsonian original. The latter matches plate 193 in Letters and Notes. Man Who Tracks appears again, full length, in cartoon 58, with his wife and a Peoria “dandy.”

“Of this tribe I painted the portraits of … [Man Who Tracks and No English, no. 253]. These are said to be the most influential men in the tribe, and both were very curiously and well dressed, in articles of civilized manufacture” (Letters and Notes, vol. 2, p. 101, pl. 193).

Catlin further describes the subject as having a “remarkably fine head” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830 (see no. 237). The broad sweeps of pigment are again close to the technique used by Catlin in the Potawatomi and Kickapoo portraits (see no. 248).

Although the subject is only half-length and costume details are somewhat different, the Gilcrease watercolor is a close interpretation of the Smithsonian original. The latter matches plate 193 in Letters and Notes. Man Who Tracks appears again, full length, in cartoon 58 (NGA 2067), with his wife and a Peoria “dandy.”

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pah-mee-cow-ee-tah, Man Who Tracks, a chief Pah-mee-ców-ee-tah, Man Who Tracks, a Chief George Catlin Object Peoria Peoria 1985_66_253 814 Catlin, George George Catlin 0 248 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil See number 251. Catlin further describes No English as "a beau; his face curiously painted, and looking-glass in his hand" (1848 catalogue, p. 27). Probably painted at Fort Leavenworth in 1830 (see nos. 237, 25 1). The subject is incorrectly identified as Kee-‡n-ne-kuk (Foremost Man, no. 240) in the Gilcrease catalogue. The Smithsonian and Gilcrease portraits are identical except for minor changes in the arrangement of the necklaces. The former matches plate 194 in Letters and Notes. No English appears again, full length, in cartoon 58 (NGA 2067).

Catlin further describes No English as “a beau; his face curiously painted, and looking-glass in his hand” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830. The subject is incorrectly identified as Kee-án-ne-kuk (Foremost Man) in the Gilcrease catalogue.

The Smithsonian and Gilcrease portraits are identical except for minor changes in the arrangement of the necklaces. The former matches plate 194 in Letters and Notes. No English appears again, full length, in cartoon 58.

See number 251. Catlin further describes No English as “a beau; his face curiously painted, and looking-glass in his hand” (1848 catalogue, p. 27).

Probably painted at Fort Leavenworth in 1830 (see nos. 237, 251). The subject is incorrectly identified as Kee-án-ne-kuk (Foremost Man, no. 240) in the Gilcrease catalogue.

The Smithsonian and Gilcrease portraits are identical except for minor changes in the arrangement of the necklaces. The former matches plate 194 in Letters and Notes. No English appears again, full length, in cartoon 58 (NGA 2067).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Kee-mo-ra-nia, No English, a dandy Kee-mo-rá-nia, No English, a Dandy George Catlin Object Peoria Peoria 1985_66_254 814 Catlin, George George Catlin 0 286 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 1830 (see nos. 237, 251). Catlin mislabeled plates 195 and 196 in Letters and Notes (see no. 2 5 5), and the subject is listed twice (once under the wrong tribe) in the Gilcrease catalogue. Costumes differ between the Gilcrease and Smithsonian portraits, and the former is only bust length. The latter matches plate 196 in Letters and Notes. The subject appears again, full length, in cartoon 47 (NGA 2060).

Probably painted at Fort Leavenworth in 1830. Catlin mislabeled plates 195 and 196 in Letters and Notes, and the subject is listed twice (once under the wrong tribe) in the Gilcrease catalogue.

Costumes differ between the Gilcrease and Smithsonian portraits, and the former is only bust length. The latter matches plate 196 in Letters and Notes. The subject appears again, full length, in cartoon 47.

Probably painted at Fort Leavenworth in 1830 (see nos. 237, 251). Catlin mislabeled plates 195 and 196 in Letters and Notes (see no. 255), and the subject is listed twice (once under the wrong tribe) in the Gilcrease catalogue.

Costumes differ between the Gilcrease and Smithsonian portraits, and the former is only bust length. The latter matches plate 196 in Letters and Notes. The subject appears again, full length, in cartoon 47 (NGA 2060).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ni-a-co-mo, Fix with the Foot, a brave Ni-a-có-mo, Fix with the Foot, a Brave George Catlin Object Piankashaw/Miami Piankashaw/Miami 1985_66_255 814 Catlin, George George Catlin 0 249 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a fierce-looking and very distinguished warrior, with a stone-hatchet in his hand" (Letters and Notes, vol. 2, p. 101, pl. 195). Probably painted at Fort Leavenworth in 1830 (see nos. 237, 251). Catlin mislabeled plates 195 and 196 in Letters and Notes (see no. 254). The subject is bust length in the Gilcrease watercolor, and his face is a simplified version of the Smithsonian portrait, which matches plate 195 in Letters and Notes (see no. 232). Left Hand appears again, full length, in cartoon 47 (NGA 2060), with his wife and a Piankashaw brave.

Described by Catlin as “a fierce-looking and very distinguished warrior, with a stone-hatchet in his hand” (Letters and Notes, vol. 2, p. 101, pl. 195).

Probably painted at Fort Leavenworth in 1830. Catlin mislabeled plates 195 and 196 in Letters and Notes.

The subject is bust length in the Gilcrease watercolor, and his face is a simplified version of the Smithsonian portrait, which matches plate 195 in Letters and Notes. Left Hand appears again, full length, in cartoon 47. with his wife and a Piankashaw brave.

Described by Catlin as “a fierce-looking and very distinguished warrior, with a stone-hatchet in his hand” (Letters and Notes, vol. 2, p. 101, pl. 195).

Probably painted at Fort Leavenworth in 1830 (see nos. 237, 251). Catlin mislabeled plates 195 and 196 in Letters and Notes (see no. 254).

The subject is bust length in the Gilcrease watercolor, and his face is a simplified version of the Smithsonian portrait, which matches plate 195 in Letters and Notes (see no. 232). Left Hand appears again, full length, in cartoon 47 (NGA 2060), with his wife and a Piankashaw brave.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Men-son-se-ah, Left Hand, a warrior Men-són-se-ah, Left Hand, a Warrior George Catlin Object Piankashaw/Miami Piankashaw/Miami 1985_66_256 814 Catlin, George George Catlin 0 402 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil No Heart (or White Cloud II) was the son of a distinguished chief of the same name, according to Catlin, but Frederick W. Hodge (McKenney and Hall, Vol. 1, p. 294) thinks that No Heart may have been the brother of White Cloud I, and therefore uncle of White Cloud II, principal chief of the fourteen Iowa Indians who visited England and France in 1844 and 1845 (see no. 517). Hodge also speculates that No Heart and White Cloud II were brothers. Unfortunately, Charles Bird King's portraits of White Cloud I and No Heart (Notchimine) only add to the confusion, as neither appears to resemble this subject. Catlin describes No Heart as "tastefully dressed with a buffalo robe wrapped around him, with a necklace of grizzly bear's claws on his neck; with shield, bow, and quiver on, and a profusion of wampum strings on his neck" (Letters and Notes, Vol. 2, p. 22, pl. 129). Probably painted at Fort Leavenworth in 1832. Catlin's portraits of the civilized tribes settled near Leavenworth (Delaware, Shawnee and nos. 237-55) were apparently painted before those of the more primitive tribes living some distance beyond the fort (Iowa, Kansas, Missouri, Omaha Oto, and Pawnee). Although the Iowa portraits do not have the robust dimension of the Upper Missouri series, anatomy and costume details are more clearly articulated than in the loosely painted portraits of the civilized tribes. Under the circumstances, it seems best to assign the Iowa group to 1832, when Catlin encountered numerous members of the tribe encamped about Leavenworth (see nos. 22, 237). The Gilcrease watercolor is an elaborately detailed version of the Smithsonian original (see no. 46). No Heart holds an arrow in his right hand in the watercolor and plate 129 of Letters and Notes. He appears again, full length, in cartoon 2 (NGA 2046), with his son and an Iowa brave.

No Heart (or White Cloud II) was the son of a distinguished chief of the same name, according to Catlin, but Frederick W. Hodge (McKenney and Hall, Vol. 1, p. 294) thinks that No Heart may have been the brother of White Cloud I, and therefore uncle of White Cloud II, principal chief of the fourteen Iowa Indians who visited England and France in 1844 and 1845. Hodge also speculates that No Heart and White Cloud II were brothers. Unfortunately, Charles Bird King's portraits of White Cloud I and No Heart (Notchimine) only add to the confusion, as neither appears to resemble this subject.

Catlin describes No Heart as “tastefully dressed with a buffalo robe wrapped around him, with a necklace of grizzly bear's claws on his neck; with shield, bow, and quiver on, and a profusion of wampum strings on his neck” (Letters and Notes, Vol. 2, p. 22, pl. 129).

Probably painted at Fort Leavenworth in 1832. Catlin's portraits of the civilized tribes settled near Leavenworth (Delaware, Shawnee) were apparently painted before those of the more primitive tribes living some distance beyond the fort (Iowa, Kansas, Missouri, Omaha Oto, and Pawnee). Although the Iowa portraits do not have the robust dimension of the Upper Missouri series, anatomy and costume details are more clearly articulated than in the loosely painted portraits of the civilized tribes. Under the circumstances, it seems best to assign the Iowa group to 1832, when Catlin encountered numerous members of the tribe encamped about Leavenworth.

The Gilcrease watercolor is an elaborately detailed version of the Smithsonian original. No Heart holds an arrow in his right hand in the watercolor and plate 129 of Letters and Notes. He appears again, full length, in cartoon 2, with his son and an Iowa brave.

No Heart (or White Cloud II) was the son of a distinguished chief of the same name, according to Catlin, but Frederick W. Hodge (McKenney and Hall, Vol. 1, p. 294) thinks that No Heart may have been the brother of White Cloud I, and therefore uncle of White Cloud II, principal chief of the fourteen Iowa Indians who visited England and France in 1844 and 1845 (see no. 517). Hodge also speculates that No Heart and White Cloud II were brothers. Unfortunately, Charles Bird King's portraits of White Cloud I and No Heart (Notchimine) only add to the confusion, as neither appears to resemble this subject.

Catlin describes No Heart as “tastefully dressed with a buffalo robe wrapped around him, with a necklace of grizzly bear's claws on his neck; with shield, bow, and quiver on, and a profusion of wampum strings on his neck” (Letters and Notes, Vol. 2, p. 22, pl. 129).

Probably painted at Fort Leavenworth in 1832. Catlin's portraits of the civilized tribes settled near Leavenworth (Delaware, Shawnee and nos. 230–55) were apparently painted before those of the more primitive tribes living some distance beyond the fort (Iowa, Kansas, Missouri, Omaha Oto, and Pawnee). Although the Iowa portraits do not have the robust dimension of the Upper Missouri series, anatomy and costume details are more clearly articulated than in the loosely painted portraits of the civilized tribes. Under the circumstances, it seems best to assign the Iowa group to 1832, when Catlin encountered numerous members of the tribe encamped about Leavenworth (see nos. 22, 237).

The Gilcrease watercolor is an elaborately detailed version of the Smithsonian original (see no. 46). No Heart holds an arrow in his right hand in the watercolor and plate 129 of Letters and Notes. He appears again, full length, in cartoon 2 (NGA 2046), with his son and an Iowa brave.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Notch-ee-ning-a, No Heart (called White Cloud), chief of the tribe Notch-ee-níng-a, No Heart (called White Cloud), Chief of the Tribe George Catlin Object Iowa Iowa 1985_66_257 814 Catlin, George George Catlin 0 229 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil [Shooting Cedar and Busy Man (no. 260)] are also distinguished warriors of the tribe; tastefully dressed and equipped, the one with his war-club on his arm, the other with bow and arrows in his hand; both wore around their waists beautiful buffalo robes, and both had turbans made of varicoloured cotton shawls, purchased of the Fur Traders. Around their necks were necklaces of the bears' claws, and a profusion of beads and wampum. Their ears were profusely strung with beads; and their naked shoulders curiously streaked and daubed with red paint (Letters and Notes, vol. 2, p. 23, pl. 131). Probably painted at Fort Leavenworth in 1832 (see no. 256). The GiIcrease and Smithsonian portraits are similar in appearance, but the former is a weak version of the latter (see no. 232). The subject is incorrectly identified as Wos-c—m-mun (Busy Man, no. 260) in the Gilcrease catalogue. Shooting Cedar appears again, full length, in cartoon 2 (NGA 2046).

“[Shooting Cedar and Busy Man] are also distinguished warriors of the tribe; tastefully dressed and equipped, the one with his war-club on his arm, the other with bow and arrows in his hand; both wore around their waists beautiful buffalo robes, and both had turbans made of varicoloured cotton shawls, purchased of the Fur Traders. Around their necks were necklaces of the bears' claws, and a profusion of beads and wampum. Their ears were profusely strung with beads; and their naked shoulders curiously streaked and daubed with red paint” (Letters and Notes, vol. 2, p. 23, pl. 131).

Probably painted at Fort Leavenworth in 1832. The GiIcrease and Smithsonian portraits are similar in appearance, but the former is a weak version of the latter. The subject is incorrectly identified as Wos-cóm-mun (Busy Man) in the Gilcrease catalogue.

Shooting Cedar appears again, full length, in cartoon 2.

“[Shooting Cedar and Busy Man (no. 260)] are also distinguished warriors of the tribe; tastefully dressed and equipped, the one with his war-club on his arm, the other with bow and arrows in his hand; both wore around their waists beautiful buffalo robes, and both had turbans made of varicoloured cotton shawls, purchased of the Fur Traders. Around their necks were necklaces of the bears' claws, and a profusion of beads and wampum. Their ears were profusely strung with beads; and their naked shoulders curiously streaked and daubed with red paint” (Letters and Notes, vol. 2, p. 23, pl. 131).

Probably painted at Fort Leavenworth in 1832 (see no. 256). The GiIcrease and Smithsonian portraits are similar in appearance, but the former is a weak version of the latter (see no. 232). The subject is incorrectly identified as Wos-cóm-mun (Busy Man, no. 260) in the Gilcrease catalogue.

Shooting Cedar appears again, full length, in cartoon 2 (NGA 2046).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Pah-ta-coo-chee, Shooting Cedar, a brave Pah-ta-cóo-chee, Shooting Cedar, a Brave George Catlin Object Iowa Iowa 1985_66_258 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Described by Catlin as a "warrior, with his pipe and tobacco-pouch in his hand" (1848 catalogue, p. 28). The subject may be the same as Walking Rain (no. 518). Probably painted at Fort Leavenworth in 1832 (see no. 256). The Glenbow sketch closely resembles the Smithsonian portrait, but like the Gilcrease examples, it is most likely a later version. No preliminary drawings are known for any of the paintings in the 1848 catalogue.

Described by Catlin as a “warrior, with his pipe and tobacco-pouch in his hand” (1848 catalogue, p. 28). The subject may be the same as Walking Rain.

Probably painted at Fort Leavenworth in 1832. The Glenbow sketch closely resembles the Smithsonian portrait, but like the Gilcrease examples, it is most likely a later version. No preliminary drawings are known for any of the paintings in the 1848 catalogue.

Described by Catlin as a “warrior, with his pipe and tobacco-pouch in his hand” (1848 catalogue, p. 28). The subject may be the same as Walking Rain (no. 518).

Probably painted at Fort Leavenworth in 1832 (see no. 256). The Glenbow sketch closely resembles the Smithsonian portrait, but like the Gilcrease examples, it is most likely a later version. No preliminary drawings are known for any of the paintings in the 1848 catalogue.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). No-o-mun-nee, Walks in the Rain, a warrior no-o-mún-nee, Walks in the Rain, a Warrior George Catlin Object 1985_66_259 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/20/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Man of Sense is another of this tribe, much distinguished for his bravery and early warlike achievements. His head was dressed with a broad silver band passing around it, and decked out with the crest of horsehair (Letters and Notes, vol. 2, p. 22, pl. 130). Catlin further describes the subject as having "a handsome pipe in his hand, and bears' claw necklace on his neck" (1848 catalogue, p. 28). Probably painted at Fort Leavenworth in 1832 (see no. 256). Donaldson incorrectly identifies the subject in plate 54 as Walks in the Rain (see nos. 258, 260). The Gilcrease watercolor is a more finished version of the Smithsonian original, but its date is not to be trusted (see no. 46). Man of Sense appears again, full length, in cartoon 2 (NGA 2046).

“Man of Sense is another of this tribe, much distinguished for his bravery and early warlike achievements. His head was dressed with a broad silver band passing around it, and decked out with the crest of horsehair” (Letters and Notes, vol. 2, p. 22, pl. 130).

Catlin further describes the subject as having “a handsome pipe in his hand, and bears' claw necklace on his neck” (1848 catalogue, p. 28).

Probably painted at Fort Leavenworth in 1832. Donaldson incorrectly identifies the subject in plate 54 as Walks in the Rain.

The Gilcrease watercolor is a more finished version of the Smithsonian original, but its date is not to be trusted. Man of Sense appears again, full length, in cartoon 2.

“Man of Sense is another of this tribe, much distinguished for his bravery and early warlike achievements. His head was dressed with a broad silver band passing around it, and decked out with the crest of horsehair” (Letters and Notes, vol. 2, p. 22, pl. 130).

Catlin further describes the subject as having “a handsome pipe in his hand, and bears' claw necklace on his neck” (1848 catalogue, p. 28).

Probably painted at Fort Leavenworth in 1832 (see no. 256). Donaldson incorrectly identifies the subject in plate 54 as Walks in the Rain (see nos. 258, 260).

The Gilcrease watercolor is a more finished version of the Smithsonian original, but its date is not to be trusted (see no. 46). Man of Sense appears again, full length, in cartoon 2 (NGA 2046).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Man of Sense, a brave W'y-ee-yogh, Man of Sense, a Brave George Catlin Object 1985_66_26 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 1832 (see nos. 22, 28).

Probably painted at Fort Leavenworth in 1832.

Probably painted at Fort Leavenworth in 1832 (see nos. 22, 28).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). O-ron-gas-see, Bear-catcher, a celebrated warrior O-rón-gás-see, Bear-catcher, a Celebrated Warrior George Catlin Object 1985_66_260 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil See number 257 for Catlin's description. Probably painted at Fort Leavenworth in 1832 (see no. 256). Donaldson incorrectly identifies the subject in plate 54 as Man of Sense (no. 259).

Probably painted at Fort Leavenworth in 1832. Donaldson incorrectly identifies the subject in plate 54 as Man of Sense.

See number 257 for Catlin's description.

Probably painted at Fort Leavenworth in 1832 (see no. 256). Donaldson incorrectly identifies the subject in plate 54 as Man of Sense (no. 259).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Wos-com-mun, Busy Man, a brave Wos-cóm-mun, Busy Man, a Brave George Catlin Object 1985_66_262 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1832 1832 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 1832 (see no. 256), although for some unexplained reason the subject is not included in the 1837 catalogue. This is the weakest portrait in the Iowa group, and the Gilcrease watercolor is only a fumbling equivalent of the original.

Probably painted at Fort Leavenworth in 1832, although for some unexplained reason the subject is not included in the 1837 catalogue. This is the weakest portrait in the Iowa group, and the Gilcrease watercolor is only a fumbling equivalent of the original.

Probably painted at Fort Leavenworth in 1832 (see no. 256), although for some unexplained reason the subject is not included in the 1837 catalogue. This is the weakest portrait in the Iowa group, and the Gilcrease watercolor is only a fumbling equivalent of the original.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Mun-ne-o-ye, a woman Mún-ne-o-ye, a Woman George Catlin Object 1985_66_264 814 Catlin, George George Catlin 0 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 5/20/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in February 1831, when a delegation of Ohio Seneca that included numbers 266, 267, and 269 were there to negotiate a treaty for the sale of their lands south of Lake Erie. Catlin's presence in Washington in January 1831 has already been established (see no. 218), and the unusual size of the portraits matches those numbers in the Menominee series that were presumably painted in the capital. Moreover, the heavy, full strokes in the Seneca portraits are much like those used by the artist in recording the Menominee subjects (see nos. 218-31).

Probably painted in Washington in February 1831, when a delegation of Ohio Seneca that included numbers 266, 267, and 269 were there to negotiate a treaty for the sale of their lands south of Lake Erie. Catlin's presence in Washington in January 1831 has already been established, and the unusual size of the portraits matches those numbers in the Menominee series that were presumably painted in the capital. Moreover, the heavy, full strokes in the Seneca portraits are much like those used by the artist in recording the Menominee subjects.

Probably painted in Washington in February 1831, when a delegation of Ohio Seneca that included numbers 266, 267, and 269 were there to negotiate a treaty for the sale of their lands south of Lake Erie. Catlin's presence in Washington in January 1831 has already been established (see no. 218), and the unusual size of the portraits matches those numbers in the Menominee series that were presumably painted in the capital. Moreover, the heavy, full strokes in the Seneca portraits are much like those used by the artist in recording the Menominee subjects (see nos. 210–31).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Deep Lake, an old chief Deep Lake, an Old Chief George Catlin Object 1985_66_265 814 Catlin, George George Catlin 0 43 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/25/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "half-blood. A very handsome fellow" (1848 catalogue, p. 28). Probably painted in Washington in February 1831 (see no. 264).

Described by Catlin as “half-blood. A very handsome fellow” (1848 catalogue, p. 28).

Probably painted in Washington in February 1831.

Described by Catlin as “half-blood. A very handsome fellow” (1848 catalogue, p. 28).

Probably painted in Washington in February 1831 (see no. 264).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Round Island, a warrior Round Island, a Warrior George Catlin Object Seneca Seneca 1985_66_266 814 Catlin, George George Catlin 0 5 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/25/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a very ferocious-looking, but a mild and amiable man" (1848 catalogue, p. 28). Probably painted in Washington in February 1831 (see no. 264). Hard Hickory also appears, full length, in cartoon 53 (NGA 2062).

Described by Catlin as “a very ferocious-looking, but a mild and amiable man” (1848 catalogue, p. 28).

Probably painted in Washington in February 1831. Hard Hickory also appears, full length, in cartoon 53 .

Described by Catlin as “a very ferocious-looking, but a mild and amiable man” (1848 catalogue, p. 28).

Probably painted in Washington in February 1831 (see no. 264). Hard Hickory also appears, full length, in cartoon 53 (NGA 2062).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Hard Hickory, an amiable man Hard Hickory, an Amiable Man George Catlin Object Seneca 1985_66_267 814 Catlin, George George Catlin 0 254 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Probably painted in Washington in February 1831 (see no. 264). Good Hunter also appears, full length, in cartoon 53 (NGA 2062).

Probably painted in Washington in February 1831. Good Hunter also appears, full length, in cartoon 53.

Probably painted in Washington in February 1831 (see no. 264). Good Hunter also appears, full length, in cartoon 53 (NGA 2062).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Good Hunter, a warrior Good Hunter, a Warrior George Catlin Object Seneca Seneca 1985_66_268 814 Catlin, George George Catlin 0 44 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/25/02 21 1/8 x 16 1/2 in. 21 1/8 x 16 1/2 in. 1831 1831 George Gurney no 1796–1872 oil on canvas oil Probably painted in Washington in February 1831 (see no. 264).

Probably painted in Washington in February 1831.

Probably painted in Washington in February 1831 (see no. 264).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). String, a renowned warrior String, a Renowned Warrior Catlin painted String, an Ohio Seneca in Washington to negotiate the sale of territory south of Lake Erie to the United States, early in 1831. The artist then turned to raising money by painting portraits and to making plans for a western journey far beyond the frontier outposts he had visited so far.

Catlin painted String, an Ohio Seneca in Washington to negotiate the sale of territory south of Lake Erie to the United States, early in 1831. The artist then turned to raising money by painting portraits and to making plans for a western journey far beyond the frontier outposts he had visited so far.

George Catlin Object Seneca Seneca 1985_66_269 814 Catlin, George George Catlin 0 3 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/26/02 21 3/4 x 16 3/4 in. 21 3/4 x 16 3/4 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil Catlin describes the subject as having a hatchet in his hand (1848 catalogue, p. 29). Probably painted in Washington in February 1831 (see no. 264).

Catlin describes the subject as having a hatchet in his hand (1848 catalogue, p. 29).

Probably painted in Washington in February 1831.

Catlin describes the subject as having a hatchet in his hand (1848 catalogue, p. 29).

Probably painted in Washington in February 1831 (see no. 264).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Seneca Steele, a great libertine Seneca Steele, a Great Libertine George Catlin Object Seneca 1985_66_270 814 Catlin, George George Catlin 0 244 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/28/02 21 1/4 x 16 1/2 in. 21 1/4 x 16 1/2 in. 1831 1831 George Gurney 1796–1872 oil on canvas oil He is a shrewd and talented man, well educated-speaking good English-is handsome, and a polite and gentlemanly man in his deportment (Letters and Notes, vol. 2, p. 103, pl. 201). Catlin also describes Bread as "half-blood" (1848 catalogue, p. 29). Probably painted in Washington in early 183 1, as the size and style of the portrait so closely match the Seneca and Menominee series (see nos. 264, 218). Moreover, Bread's name appears on a treaty signed in Washington January 20, 1831, to determine the removal of certain New York tribes to land west of Green Bay, where Catlin locates the chief in the 1837 catalogue. The artist apparently devoted some time to painting Bread, as the portrait is one of the most perceptive and carefully finished of the period. The subject also appears, full length, in cartoon 62 (NGA 2071), with his sister and a Tuscarora missionary.

“He is a shrewd and talented man, well educated—speaking good English—is handsome, and a polite and gentlemanly man in his deportment” (Letters and Notes, vol. 2, p. 103, pl. 201). Catlin also describes Bread as “half-blood” (1848 catalogue, p. 29).

Probably painted in Washington in early 1831, as the size and style of the portrait so closely match the Seneca and Menominee series. Moreover, Bread's name appears on a treaty signed in Washington January 20, 1831, to determine the removal of certain New York tribes to land west of Green Bay, where Catlin locates the chief in the 1837 catalogue.

The artist apparently devoted some time to painting Bread, as the portrait is one of the most perceptive and carefully finished of the period. The subject also appears, full length, in cartoon 62, with his sister and a Tuscarora missionary.

“He is a shrewd and talented man, well educated—speaking good English—is handsome, and a polite and gentlemanly man in his deportment” (Letters and Notes, vol. 2, p. 103, pl. 201). Catlin also describes Bread as “half-blood” (1848 catalogue, p. 29).

Probably painted in Washington in early 1831, as the size and style of the portrait so closely match the Seneca and Menominee series (see nos. 264, 218). Moreover, Bread's name appears on a treaty signed in Washington January 20, 1831, to determine the removal of certain New York tribes to land west of Green Bay, where Catlin locates the chief in the 1837 catalogue.

The artist apparently devoted some time to painting Bread, as the portrait is one of the most perceptive and carefully finished of the period. The subject also appears, full length, in cartoon 62 (NGA 2071), with his sister and a Tuscarora missionary.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Bread, chief of the tribe Bread, Chief of the Tribe George Catlin Object Oneida Oneida 1985_66_271 814 Catlin, George George Catlin 0 259 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1837-1839? about 1837–39 George Gurney 1796–1872 oil on canvas oil Described by Catlin as "a very talented man-has been educated for the pulpit in some one of our public institutions, and is now a Baptist preacher, and I am told a very eloquent speaker" (Letters and Notes, vol. 2, p. 104, pl. 202). The portrait is not included in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, indicating that it may have been painted in the interval. judging from Cd-sick's dress and manner, Catlin did not necessarily encounter him on the Tuscarora reservation near Buffalo, as Donaldson and others have suggested. Cœ-sick's features are modeled with a fine, light touch that one sees in Catlin's portraits of white men of the late 1830s. The subject has no arm bands, necklaces, or sash in plate 202 of Letters and Notes. He appears again, full length, in cartoon 62 (NGA 2071).

Described by Catlin as “a very talented man—has been educated for the pulpit in some one of our public institutions, and is now a Baptist preacher, and I am told a very eloquent speaker” (Letters and Notes, vol. 2, p. 104, pl. 202).

The portrait is not included in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, indicating that it may have been painted in the interval. judging from Cú-sick's dress and manner, Catlin did not necessarily encounter him on the Tuscarora reservation near Buffalo, as Donaldson and others have suggested. Cú-sick's features are modeled with a fine, light touch that one sees in Catlin's portraits of white men of the late 1830s.

The subject has no arm bands, necklaces, or sash in plate 202 of Letters and Notes. He appears again, full length, in cartoon 62.

Described by Catlin as “a very talented man—has been educated for the pulpit in some one of our public institutions, and is now a Baptist preacher, and I am told a very eloquent speaker” (Letters and Notes, vol. 2, p. 104, pl. 202).

The portrait is not included in the 1837 catalogue, but does appear in the Egyptian Hall catalogue of January 1840, indicating that it may have been painted in the interval. judging from Cú-sick's dress and manner, Catlin did not necessarily encounter him on the Tuscarora reservation near Buffalo, as Donaldson and others have suggested. Cú-sick's features are modeled with a fine, light touch that one sees in Catlin's portraits of white men of the late 1830s.

The subject has no arm bands, necklaces, or sash in plate 202 of Letters and Notes. He appears again, full length, in cartoon 62 (NGA 2071).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Cu-sick, son of the chief Cú-sick, Son of the Chief George Catlin Object Tuscarora Tuscarora 1985_66_272 814 Catlin, George George Catlin 0 364 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1836 1836 George Gurney 1796–1872 oil on canvas oil The chief of this tribe . . . which I have painted at full length, with a psalm-book in one hand, and a cane in the other, is a very shrewd and intelligent man, and a professed, and I think, sincere Christian (Letters and Notes, vol. 2, p. 103, pl. 199). Probably painted at Green Bay in 1836, where the Stockbridge had settled after leaving New York in 1833. Catlin records the Wisconsin location for the tribe in Letters and Notes, and the two portraits are clearly later works, resembling the Eastern Sioux and Ojibwa series. The faces and costumes are painted with thin, deft strokes that were beyond Catlin's range in 1830, the date suggested by Donaldson and others for Catlin's visit to the tribe. The portraits are not listed in the 1837 catalogue, perhaps because they were not sufficiently finished at the time. The subject appears again in cartoon 57 (NGA 2066), with another civilized Mohegan, and in cartoon 64 (NGA 2073), which is apparently mislabeled (see nos. 273, 288).

“The chief of this tribe … which I have painted at full length, with a psalm-book in one hand, and a cane in the other, is a very shrewd and intelligent man, and a professed, and I think, sincere Christian” (Letters and Notes, vol. 2, p. 103, pl. 199).

Probably painted at Green Bay in 1836, where the Stockbridge had settled after leaving New York in 1833. Catlin records the Wisconsin location for the tribe in Letters and Notes, and the two portraits are clearly later works, resembling the Eastern Sioux and Ojibwa series. The faces and costumes are painted with thin, deft strokes that were beyond Catlin's range in 1830, the date suggested by Donaldson and others for Catlin's visit to the tribe.

The portraits are not listed in the 1837 catalogue, perhaps because they were not sufficiently finished at the time. The subject appears again in cartoon 57, with another civilized Mohegan, and in cartoon 64, which is apparently mislabeled.

“The chief of this tribe … which I have painted at full length, with a psalm-book in one hand, and a cane in the other, is a very shrewd and intelligent man, and a professed, and I think, sincere Christian” (Letters and Notes, vol. 2, p. 103, pl. 199).

Probably painted at Green Bay in 1836, where the Stockbridge had settled after leaving New York in 1833. Catlin records the Wisconsin location for the tribe in Letters and Notes, and the two portraits are clearly later works, resembling the Eastern Sioux and Ojibwa series. The faces and costumes are painted with thin, deft strokes that were beyond Catlin's range in 1830, the date suggested by Donaldson and others for Catlin's visit to the tribe.

The portraits are not listed in the 1837 catalogue, perhaps because they were not sufficiently finished at the time. The subject appears again in cartoon 57 (NGA 2066), with another civilized Mohegan, and in cartoon 64 (NGA 2073), which is apparently mislabeled (see nos. 273, 288).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Ee-tow-o-kaum, Both Sides of the River, chief of the tribe Ee-tów-o-kaum, Both Sides of the River, Chief of the Tribe George Catlin Object Mohegan Mohegan 1985_66_273 814 Catlin, George George Catlin 0 239 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 7/27/02 29 x 24 in. 29 x 24 in. 1836 1836 George Gurney 1796–1872 oil on canvas oil John W. Quinney, in civilized dress, is a civilized Indian, well-educated-speaking good English -is a Baptist missionary preacher, and a very plausible and eloquent speaker (Letters and Notes, vol. 2, P. 103, pl. 200). Probably painted at Green Bay in 1836 (see no. 272). Ewers says that Catlin saw Quinney at Niagara Falls in the winter of 1829-30, but no evidence is given to support the claim (see no. 198). The rapidly brushed outlines of Quinney's frock coat suggest the beginnings of a well-articulated figure (see no. 100). The subject was also painted by Charles Bird King in Washington (see Ewers, 1953, p. 472), and he appears again in cartoons 57 (NGA 2066) and 64 (NGA 2073). The latter is apparently mislabeled (see no. 288).

“John W. Quinney, in civilized dress, is a civilized Indian, well-educated—speaking good English—is a Baptist missionary preacher, and a very plausible and eloquent speaker” (Letters and Notes, vol. 2, P. 103, pl. 200).

Probably painted at Green Bay in 1836. Ewers says that Catlin saw Quinney at Niagara Falls in the winter of 1820–30, but no evidence is given to support the claim.

The rapidly brushed outlines of Quinney's frock coat suggest the beginnings of a well-articulated figure. The subject was also painted by Charles Bird King in Washington (see Ewers, 1953, p. 472), and he appears again in cartoons 57 and 64. The latter is apparently mislabeled.

“John W. Quinney, in civilized dress, is a civilized Indian, well-educated—speaking good English—is a Baptist missionary preacher, and a very plausible and eloquent speaker” (Letters and Notes, vol. 2, P. 103, pl. 200).

Probably painted at Green Bay in 1836 (see no. 272). Ewers says that Catlin saw Quinney at Niagara Falls in the winter of 1820–30, but no evidence is given to support the claim (see no. 198).

The rapidly brushed outlines of Quinney's frock coat suggest the beginnings of a well-articulated figure (see no. 100). The subject was also painted by Charles Bird King in Washington (see Ewers, 1953, p. 472), and he appears again in cartoons 57 (NGA 2066) and 64 (NGA 2073). The latter is apparently mislabeled (see no. 288).

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). John W. Quinney (The Dish), a missionary preacher Waun-naw-con, The Dish (John W. Quinney), a Missionary Preacher George Catlin Object Mohegan Mohegan 1985_66_274 814 Catlin, George George Catlin 0 227 Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr. 8/2/02 29 x 24 in. 29 x 24 in. 1830 1830 George Gurney 1796–1872 oil on canvas oil Probably painted at Fort Leavenworth in 1830 (see no. 237). The broad, open brushwork has much in common with the technique of the Potawatomi and Kickapoo portraits (nos. 237-45). B—d-a-sin appears again in cartoon 63 (NGA 2072), with his wife and another Delaware chief.

Probably painted at Fort Leavenworth in 1830. The broad, open brushwork has much in common with the technique of the Potawatomi and Kickapoo portraits.

Bód-a-sin appears again in cartoon 63, with his wife and another Delaware chief.

Probably painted at Fort Leavenworth in 1830 (see no. 237). The broad, open brushwork has much in common with the technique of the Potawatomi and Kickapoo portraits (nos. 230–45).

Bód-a-sin appears again in cartoon 63 (NGA 2072), with his wife and another Delaware chief.

painting painting Natural Man William H. Truettner. The Natural Man Observed: A Study of Catlin's Indian Gallery (Washington, D.C.: The Smithsonian Institution Press in cooperation with the Amon Carter Museum and The National Collection of Fine Arts, 1979). Bod-a-sin, chief of the tribe Bód-a-sin, Chief of the Tribe George Catlin Object Delaware/Lenape Delaware/Lenape 1985_66_275