Waist-length portrait of Shakoka, seated, wearing beaded necklaces and earrings. Her untied grey hair features prominently in the portrait., In Prichard, James Cowles. The natural history of man (London, 1843), plate following p. 402., "Dr. Prichard’s Natural History of Man”., The distinctive physical features of the Mandan Indians - such as the prevalence of grey hair and variety of skin tones within the tribe - led Dr. James Prichard to include several of George Catlin’s portraits of Mandan Indians in his own anthropological works.
In Bishop, H. E. Floral home; or, first years of Minnesota (New York, 1857), plate opposite p. 259., Old Bets was a Dakota woman, also known as Aza-ya-man-ka-wan, or the Berry Picker, who lived near St. Paul, Minnesota. She was involved in aiding white settlers in the Sioux Uprising of 1862., Waist-length portrait of Old Bets., Another portrait appears in: American phrenological journal, v. 26 (Oct., 1857), p. 84.
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 79. Also in 1838-1844 edition., "There is a Chinese air of childishness and simplicity about [her countenance] .... She was the favourite wife of Shaumonekusse."--P. 79, Waist-length portrait of Hayne Hudjihini, wearing earrings and necklaces.
In Lewis, J.O. Aboriginal portfolio, v. 1 (Philadelphia, 1835)., Full-length portrait of Ta-Ma-Kake-Toke holding garments (of dead spouse?), seated on a bench.
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 173. Also in 1838-1844 and 1848-1850 editions., "Like all handsome women, be their color or nation what it may, she knew her power, and used it to the greatest advantage."--P. 175., Tshusick, an Ojibwa woman, arrived in Washington, D.C. in 1826, destitute and supposedly seeking Christian conversion after traveling on foot from Detroit. After several months of being entertained by high-level U.S. government officials and mingling in the highest social circles, she left the capital, laden with many gifts. Later, her Washington friends discovered that she was a con artist, "a sort of female swindler" (P. 177) who often appeared in cities and used her charm to make friends and enjoy the hospitality of others., Full-length portrait of a seated Tshusick leaning on a table, wearing elaborately decorated clothing, including a hat, jacket, and moccasins, and holding a flower. A piece of paper on the table bears her signature: "Thusick" [sic].
In McKenney, T. L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1836), plate opposite p. 147. Also in 1838-1844 edition., "Rantchewaime has been known, after her return from Washington, to assemble hundreds of the females of her tribe, and discourse to them on the subject of ... vicious courses which she witnessed ... among the whites, and to warn them against like practices."--P. 148., Waist-length portrait of Rantchewaime, wearing earrings and necklaces, and holding a fan constructed of feathers.
In McKenney, T.L. and J. Hall. History of the Indian tribes of North America, v.3 (Philadelphia, 1848), plate opposite p. 53. Also in 1836-1844 and 1838-1844 editions., The story of Pocahontas remains one of the most powerful legends of early colonial America. Pocahontas was a friend to the English settlers, often intervening on their behalf in negotiations with her father, powerful chief Powhatan. She famously saved the life of John Smith moments before his planned execution. She married settler John Rolfe, moved to England in 1616, and died there soon after., "With a shriek of agony, and an impulse of energy and devotion known only to woman's heart, Pocahontas rushes forward, throws herself between the victim and the uplifted arm of the impassioned avenger, beseeching him to spare, for her sake, that doomed life. In what page of her voluminous annals does history record a spectacle of such exquisite beauty? What grace, what feminine tenderness and devotion, what heroic purpose of soul--what self-sacrificing resolution and firmness! And that in a child of twelve years old--and that child an untaught savage of the wilderness, who had never heard the name of Jesus, or of that gospel which teaches to love our enemies, and do good to them that hate us!"--P. 54-55., Other portraits appear in: New York Mirror, v. 18, no. 3 (July 11, 1840), p. 17; The Picture of the baptism of Pocahontas: painted by order of Congress, for the rotundo of the Capitol, by J.G. Chapman, of Washington, plate opposite p. 8; McKenney, T.L., Memoirs, official and personal, v.2 (New York, 1846), frontispiece; Hale, S.J., Woman's record (New York, 1853), p. 474; Jones, A.D., The illustrated American biography (New York, 1853), v.1., p. [21]; Jones, A.D., The American portrait gallery (New York, 1855), p. [21]; Frost, J., Pictorial history of America, v.1 (Philadelphia, 1856), p. 156; Clarke, M.C., World-noted women (New York, 1858), plate opposite p. 283; Goodrich, F.B., Women of beauty and heroism (New York, 1859), plate opposite p. 211., Waist-length portrait of Pocahontas, holding a flower.
Illustrated trade card depicting a Native American woman attired in traditional dress standing outside near flowering vines. She collects fluid dripping from a flower into a shell. Bean & Brother, a partnership between Lewis U. and George W. Bean, operated a drugstore from 47 & 49 North Second Street., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date
[ca. 1880]
Location
Library Company of Philadelphia | Print Department trade card - Indian [1975.F.30]
In McKenney, T.L. and J. Hall. History of the Indian tribes of North America, v.1 (Philadelphia, 1848), plate opposite p. 29. Also in 1836-1844 and 1838-1844 editions., Sacred Sun, also known as Mohongo, was one of seven members of the Osage tribe taken to Europe as "curiosities" for public exhibition. After their return to America, Mohongo visited Washington, D.C. and met various members of the government., "Perhaps when circumstances of embarassment, or perplexing objects of curiosity, were presented, the superior tact and flexibility of the female mind became apparent, and her companions learned to place a higher estimation upon her character, than is usually awarded by the Indian to the weaker sex. Escaped from servile labor, she had leisure to think. New objects were continually placed before her eye; admiration and curiosity were often awakened in her mind; its latent faculties were excited, and that beautiful system of association which forms the train of rational thought, became connected and developed. Mahongo was no longer the drudge of a savage hunter, but his friend. Such are the inferences which seem to be fairly deductible, when contrasting the agreeable expression of this countenance, with the stolid lineaments of other females of the same race."--P. 32., Waist-length portrait of Sacred Sun, seated, wearing metal and beaded necklaces and earrings, and holding a child on her lap.
Waist-length portrait of Mi-neek-ee-sunk-te-ka, seated, wearing beaded necklaces, bracelets, and earrings., In Prichard, James Cowles. The natural history of man (London, 1843), plate following p. 402., "Dr. Prichard’s Natural History of Man”., The distinctive physical features of the Mandan Indians - such as the prevalence of grey hair and variety of skin tones within the tribe - led Dr. James Prichard to include several of George Catlin’s portraits of Mandan Indians in his own anthropological works.
In Anderson, R. Memoir of Catharine Brown, a Christian Indian of the Cherokee Nation (Boston, 1825), frontispiece., Full-length recumbent portrait of the Cherokee woman, who was educated at Brainerd Mission near Chattanooga, Tennessee. She is depicted in bed, propped on her elbow, with an open book before her. Nearby, a woman, seated at a writing desk, holds a pen and appears to be taking dictation., "'Then raising herself in the bed & wiping a tear, that was falling from her eye, she with a sweet smile began to relate what God had done for her soul, while upon that sick bed.' Page 142."
Contains six patriotic and allegorical label designs. Imagery includes the allegorical and mythical figures Liberty, Bounty (Ceres), Mercury, and the "Good Shepherd"; a zouave soldier; a Native American princess on horse-back; a man and woman working in a textile mill; cornucopias; American flags; American eagle; and floral and filigree borders., Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Gift of Madelyn Wolke, Lucianne Reichert, and Clifford A. Mohwinkel Jr.
Date
[ca. 1863]
Location
Library Company of Philadelphia | Print Department albums - Serz [P.9773.26a]
Five separate shoulder-length portraits on a plate illustrating the location of various ipseals, or self-regarding organs., In Grimes, J. Stanley. A new system of phrenology (Buffalo, 1839), plate preceding p. 213., It is likely that the Mrs. Rapp featured in the plate is the wife of George Rapp, founder and leader of the Harmony Society, a utopian religious group., Red Jacket, a Seneca Indian orator and chief, married twice. Featured is either Aanjedek, whom he divorced, or Awaogoh, whom he went on to remarry.
Series of illustrated trade cards for Wm. F. Simes & Son, proprietors of the "little gem corn & bunion remedy", at 1102 Market Street in Philadelphia. Illustrations depict a couple embracing and reeling in a large fish; a woman and three anthropomorphic owls reading and standing on a thin tree branch; a girl reeling in a fish twice the size of her own body; a man with a large, bulbous nose standing next to a stork on a beach, looking toward the ocean where a male fairy flies to retrieve a hat floating in the water; a Native American female cherub kneeling before a small Greek statuette; a male cherub playing a banjo and synchronizing the movements of a tiny ballerina doll to the music with a string attached his leg; a male cherub picking flowers and observing a dragonfly; and a male suitor standing next to the bench where his female companion is seated., Title supplied by cataloger., One print [1975.F.858] copyrighted 1882 by [illegible?], Cataloging funded by a grant from the National Endowment for the Humanities (PW-506-19-10), 2010-2012., Digitized.
Date
[ca. 1882]
Location
Library Company of Philadelphia | Print Department trade card - Simes [1975.F.755-759; 1975.F.789; 1975.F.815; 1975.F.858]
