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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Tshusick, an Ojibway Woman.
Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph. In excellent condition. Image size (including text): 14 1/4 x 10 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Claiming to have walked from Detroit through the wintry wilds after her husband's death, Tshusick appeared in Georgetown seeking the protection and guidance of First Lady Louisa Adams, whose sister, Harriet Boyd, she claimed to have known while working in the household of Lewis Cass, the governor of Michigan. She also expressed a wish to be baptised, which won the hearts of many. The Chippewa woman quickly became Mrs. Adams' social companion and the darling of Washington society, charming everyone she encountered with her fluency in French, flawless etiquette, and remarkable skill as a seamstress. A very handsome, petite woman, Tshusick was courted and seen around Washington with General Alexander Macomb, soon to be Chief of Staff. She was later baptised in Georgetown, escorted to the baptismal font by Thomas McKenney himself, and re-named Lucy Cornelia Barbour after the daughter and wife of the Secretary of War. Always somewhat skeptical of the authenticity of her story however, McKenney wrote to Governor Cass to verify her story. Mentioning to Tshusick that he had written Cass, she immediately made plans to depart. Her new friends poured lavish gifts upon her as she left. Sometime later, Cass's reply to McKenney arrived revealing that Tshusick's French husband was alive and working in the Governor's stables and that Tshusick was a well-known con woman. McKenney pursued her next time he visited the west, but he could never track her down. The Chippewa (Ojibwa) were the most widespread and powerful tribe in the Great Lakes area.
Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20583 $1,500.00  
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Young Ma-Has-Kah, Chief of the Ioways.
Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph. In excellent condition. Image size (including text): 11 3/4 x 8 1/2 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
The son of the famous Iowa chief Mahaskah and his favorite wife Flying Pigeon, Ma Has Kah the Younger was a beneficent Iowa chief and pacifist who, like his father, believed in the importance of maintaining harmony with the colonists.
Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20587$1,750.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Sha-Ha-Ka, A Mandan Chief
Philadelphia: E. C. Biddle, 1837. Lithograph, printed and hand-colored by J. T. Bowen after a portrait by Saint-Memin in the American Philosophical Society. In excellent condition apart from faint off-setting in plate. Image size (including text): 10 x 7 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Shahaka, or Coyote (c. 1765 - c. 1810) was known to Lewis and Clark as Big White. He was a large, affable man, and unusually talkative, a trait despised by Native Americans generally. Chief of the "Lower Village" of Mandan on the Missouri in present day North Dakota, he won the friendship of Lewis, Clark and the rest of the expedition, and he was invited back to meet President Jefferson who entertained him at Monticello. During his visit to Philadelphia, Charles Balthasar Julien Febret de Saint-Mémin painted the chief's portrait, which was given to the American Philosophical Society, and it is from this that McKenney's portrait was made. Accused of being seduced by the white man's world and of fabricating tales, Shahaka's people were extremely uninterested in hearing his travel stories. He was killed in a battle with the Sioux a few years later.
Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20589$1,250.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Paddy-Carr, Creek Interpreter
Philadelphia: F. W. Greenough, 1838. Hand-coloured lithograph by J. T. Bowen. Excellent condition . Image size (including text): 11 7/8 x 9 3/4 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
The son of a Creek mother and the Irish trader Tom Carr, Paddy Carr (1808 - c. 1840) is one of the most interesting figures in the Muskogee (Creeks is a white man's designation) history of the pre-Civil War era. He was raised as an orphan in the household of the Creek Indian Agent John Crowell, where he became fluent in English. At nineteen, he went as chief interpreter for the Creek delegation to Washington in 1826 to dispute the Indian Springs Treaty. Both his interpretive and diplomatic skills helped bring about the invalidation of Indian Springs and creation of a new Treaty of Washington, by which the Creeks were permitted to retain a portion of their land on the Alabama-Georgia border.
Having inherited a significant amount of land through marriage, Paddy Carr became a successful planter and trader, and a slave owner. In 1836, (when McKenney was beginning publication) he was a owner of a large plantation with a mansion, three attractive wives (one the daughter of William McIntosh) and perhaps 80 slaves. He also kept a stable of fine racehorses. A semi-accepted member of Alabama society, he was second in command of an mercenary Creek militia of 500 to 800 that fought with the U. S. Army in the Second Seminole War in 1836. Despite this service, he was soon compelled to leave the Chattahoochee Valley and go to Oklahoma in 1837, with the rest of the Creeks. His large household of wives, children and slaves made theno mention has been found regarding the racehorses. His beautiful mansion was confiscated.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, American Color Plate Books 24; Sabin 43410a
#20597$1,250.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Petalesharoo. A Pawnee Brave.
Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph ny Lehman & Duval after Charles Bird King. In excellent condition. . Image size (including text): 13 1/2 x 10 5/8 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Petalesharo (Generous Chief) (c. 1797 - c. 1874) was a tall, handsome warrior of the Skidi Pawnees, who stood out among the other Indians by his appearance and because of a story told of him that illustrated both his courage and goodness: he saved a young female Comanche captive from being burned at the stake. It had been a practice among the Pawnee to kidnap young girls from other tribes and sacrifice them to the Sun God, much as the Aztecs had done. After this apparently, the Pawnee practice of human sacrifice was abandoned; Petalesharo's act being seen as the will of the Great Spirit.
Petalesharo was one of the 1821 visitors to Monroe's White House. During his visit, the story of his rescue was published and this added to his charismatic presence, made him a national hero. His visit provided in part the inspiration for McKenney's Indian Gallery. Petalesharo's portrait is thought to be the first representation in white America of a Plains Indian.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20598$2,500.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Ap-Pa-Noo-Se, Saukie Chief
Philadelphia: F.W. Greenough, 1838. Hand-coloured lithograph. In excellent condition. Image size (including text): 14 1/8 x 9 1/2 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Admired for his intelligence, peacefulness and eloquence, Appanoose was a respected Sauk chief who travelled to Washington in 1837 as a member of the Sauk and Fox delegation that signed a treaty relinquishing their lands between the Mississippi and Missouri Rivers to the federal government and establishing a territorial boundary with the Sioux tribe. After the negotiations concluded, Appanoose embarked on a tour of the eastern cities with the other members of the delegation, during which they visited Cooke's Circus in Philadelphia, Faneuil Hall in Boston, and George Catlin's Indian Gallery in New York. In Boston, he remarked that in the oral history of the Sauks there was a time when the tribe was settled by the ocean. Subsequent research indicates that this is true.
Appanoose was one of the leaders who negotiated the move from western Illinois to Iowa (to what became Appanoose County). In 1842, he was involved in another removal to Kansas. This became his final resting place, but a source of sorrow for the Sauk. After this the tribe was splintered: some returned to Iowa, some moved to Mexico and some were placed in Oklahoma on a Sauk and Fox reservation.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winnebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a; Horan 184.
#20599$2,500.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Tai-O-Mah, A Musquakee Brave
Philadelphia: F.W. Greenough, 1838. Hand-coloured lithograph by J. T. Bowen. In excellent condition. Image size (including text): 13 1/4 x 8 3/4 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Also occasionally referred to as the "medicine man", Tai-O-Mah or Taimah, "Thunder" or "He Who Shakes the Rocks" (c. 1790 - 1830) was an esteemed Fox warrior and chief who maintained an amicable relationship with the United States throughout his life. In 1824, he traveled to Washington as a member of the Sac and Fox delegation, led by General William Clark, which signed a treaty ceding their lands in northern Missouri and the southeastern part of Iowa to the federal government. It was during this visit to the capital that Charles Bird King painted the chief's picture after which McKenney's print was made. Taimah was also a leader of the influential Midewiwin or Great Medicine Society, a secret shamanistic society with religious affiliations that McKenney likened to the Freemasons. It is interesting to note given the calm composure which pervades his features that Taimah was suffering from tuberculosis at the time the portrait was being done. He is buried in Des Moines County, Iowa.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, American Color Plate Books p. 24; Sabin 43410a; Horan 182.
#20600$1,750.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Hayne Hudjihini Eagle of Delight
Philadelphia: Key & Biddle, 1833. Hand-coloured lithograph. In excellent condition. Image size (including text): 11 1/2 x 8 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Hayne Hudjihini or Eagle of Delight (c. 1804 - 1822) portrait gives a hint of the beauty and charm that captivated President Monroe, Thomas McKenney and members of the Cabinet. She was one of Shaumonekusse's five wives, and was thought to be the most beautiful of all the Native American wives who visited Washington. She was eighteen or nineteen when King painted her portrait. Sadly, she contracted measles while in Washington and died soon after returning home.
King made two versions of the painting, one of which was lost in the Smithsonian fire, one of which hangs in the White House library.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winnebago in the present state of Michigan. His journeys provided an opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a; Horan, 296.
#20602$1,500.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Mo-Hon-Go, an Osage Woman
Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph by Lehman and Duval. In excellent condition. . Image size (including text): 14 1/4 x 11 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Mo-Hon-Go was an Osage woman, who in 1827 unknowingly embarked on a three year cross-continental journey after being duped by the French con artist, David Delaunay. Under the pretense that he was taking them to Washington to meet the President, Delaunay took a group of Osage that included Mo-Hon-Go and her husband Kihegashugah, or Little Chief, to France, Holland, and Germany, where he displayed them as primitive curiosities in a successful Wild West show. When they arrived in Le Havre from New Orleans, he told them they were merely taking an extremely circuitous route to Washington via Europe. Whether it was because he was incarcerated by his creditors or because popular interest in the show began to wane, Delaunay eventually deserted the group in Paris, leaving them destitute and disoriented. They wandered the streets, Mohongo pregnant, and all of them hungry. Someone brought the group to Lafayette, who kindly paid for their passage back to America, though several members soon died of smallpox, including Mohongo's husband. Wandering again in Norfolk, Virginia, they were boarded by charitable strangers. Someone alerted McKenney of their situation, and ultimately, Mohongo (and her son) and the remaining group were brought to Washington to meet President Jackson in 1830. They were then given passage back to their homeland.
McKenney arranged for this beautiful King mother and child portrait to be done, despite a growing clamor of complaint about the costs of the Indian portraits in Congress, and it's one of his finest works.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a, Horan, 334-6
#20603$1,250.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Mon-Ka-Ush-Ka, A Sioux Chief
Philadelphia: E. C. Biddle, 1836. Hand-coloured lithograph. In excellent condition. Image size (including text): 13 x 8 1/2 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Initially a humble horseholder by trade, Monkaushka later distinguished himself as an honorable and ambitious warrior. In 1837, he attended the intertribal peace council in Washington as a member of the Sioux commission that signed a peace treaty with the United States, ceding their land east of the Mississippi.
Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20604$1,200.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Pah-She-Pah-How.
Philadelphia: E. C. Biddle, 1835. Hand-coloured lithograph by Lehman & Duval after C. B. King. In excellent condition. . Image size (including text): 11 1/4 x 9 1/2 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Pashepahaw was a Sauk chieftain, known as the Stabber. He was a colleague and ally of Keokuk, and, therefore opposed to Black Hawk.
When Pashepahaw visited Washington in 1824, McKenney asked about him and learned that he had been insulted by an Indian agent (one of McKenney's men) and had promised to kill the man. A medicine man named Taimah learned of this and, though quite ill, traveled a considerable distance to warn the agent, who was ready when Pashepahaw arrived, and thus a frontier war was prevented. Pashepahaw was forced to back down, but kept his hair long thereafter.
He lived long enough to be painted as an old man by George Catlin, who called him "a very venerable old man."
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk and Wapello. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a; Horan 194.
#20605$950.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Timpoochee Barnard, an Uchee Warrior
Philadelphia: F.W. Greenough, 1838. Lithograph "Drawn Printed and Coloured at J.T. Bowen's Lithographic Establishment", after a C.B.King portrait painted in 1825. In excellent condition. Image size (including text): 11 1/2 x 9 1/4 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America'.
A venerated Yuchi chief, Timpoochee Barnard had a Scotish father and Yuchi mother. He was a commissioned major who valiantly fought under General Jackson against the Creeks in the 1814 Battle of Callabee Creek.. Major Barnard's distinguished military career continued with his gallant participation in the 1818 Seminole War and the battle at Econaffinnah or Natural Bridge of the same year. After travelling to Washington to contest the Indian Springs Treaty of 1825, he settled near Fort Mitchell, where he remained until his death. Of Timpoochee, President Jackson once remarked to his son, "A braver man than your father never lived." Also known as the Choya'ha or Tsoya'ha, meaning 'children of the sun', the Yuchi tribe inhabited the Southeastern region of the United States.
They had been practically eliminated by the Creeks and Cherokees and lived uneasily in their midst.
McKenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. BAL 6934; cf. Bennett p.79; cf. Field 992; cf. Howes M129; cf. Lipperhiede Mc4; cf. Reese, Stamped With A National Character p. 24; Sabin 43410a; Horan 344; Johansen & Gringe, 24.
#20606$950.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
To-Ka-Con [To-Ka Cou], A Sioux Chief
Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph by J.T. Bowen after a portrait by George Cooke done in 1837. In excellent condition. Image size (including text): 13 1/8 x 10 1/2 inches. Sheet size: 18 x 12 3/4 inches.
A fine image from McKenney and Hall's 'Indian Tribes of North America': `One of the most important [works] ever published on the American Indians' (Field),` a landmark in American culture' (Horan) and an invaluable contemporary record of a vanished way of life.
Tokacou, or He Who Inflicts the First Wound was a Yankton Sioux warrior and a member of the tribal police force. This elite group maintained high standards of discipline in the community, meting out appropriate punishments when required to, including the death penalty. Here he is portrayed with the sword of authority at the ready. He was signer of several important treaties in the 1820s and 30s.
Mckenney and Hall's 'Indian Tribes of North America' has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee , and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as a way of preserving an accurate visual record of a rapidly disappearing culture. (Gilreath).
Cf. Howes M129; cf. Bennett 79; cf. Field 992; cf. Lipperheide Mc 4; cf. Reese American Color Plate Books 24; cf. Sabin 43410a
#20611$1,500.00
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 MCKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868)
Tah-Chee, a Cherokee Chief
Philadelphia: E. C. Biddle, 1837. Hand-coloured lithograph by Albert Newsam (signed on stone). Very good condition. . Image size (including text): 14 1/2 x 9 3/4 inches. Sheet size: 20 14 x 14 3/4 inches.
A fine image from McKenney and Hall's "Indian Tribes of North America": with Albert Newsam's signature in lithograph
Tah-Chee, (d. 1848) also known as "Dutch," and "Captain William Dutch" was a revered Cherokee chief and talented hunter, who acquired a significant amount of land for his tribe along the Canadian River after fighting with the Osage and Comanche.
He was from an early age a hunter and seems to have spent a great deal of time completely on his own, or, alone with his horse and three dogs. During these travels, he teamed up with members of other tribes, including the Osage (bitter Cherokee enemies) even learning their language.
Widely respected by the chiefs of many Indian nations, he was one of several Indian representatives at the 1835 Camp Homes Treaty, which established peace between the United States and various tribes including the Comanche, Wichita, Cherokee, Creek, Choctaw, and Osage. Tah-Chee later moved his tribe to east Texas, where he remained until the 1840s when he was defeated by the Republic of Texas army and forced to relocate to the Indian Territory. He retired to a ranch on the Columbia River where he died in 1848.
McKenney and Hall's "Indian Tribes of North America" has long been renowned for its faithful portraits of Native Americans. The portraits are largely based on paintings by the artist Charles Bird King, who was employed by the War Department to paint the Indian delegates visiting Washington D.C., forming the basis of the War Department's Indian Gallery. Most of King's original paintings were subsequently destroyed in a fire at the Smithsonian, and their appearance in McKenney and Hall's magnificent work is thus our only record of the likenesses of many of the most prominent Indian leaders of the nineteenth century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Keokuk, and Black Hawk. After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As a director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1830, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, a lawyer who had written extensively about the west. McKenney and Hall saw their work as making a record of a rapidly disappearing culture.
Cf. BAL, 6934; cf. Bennett, p.79; cf. Field, 992; cf. Howes, M129; cf. Lipperhiede, Mc4; cf. Reese, Stamped With A National Character, p. 24; Sabin, 43410a.
#20943$1,500.00
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 [MEAD, Braddock, alias John GREEN (c.1688-1757)]
[New England] A Map of the most Inhabited part of New England containing the Provinces of Massachusets Bay and New Hampshire, with the Colonies of Conecticut and Rhode Island, Divided into Counties and Townships. The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations
[Augsburg: Tobias Conrad Lotter, 1776]. Copper-engraved map by T.C. Lotter, with original colour, on four sheets joined, each sheet with a honizontal crease and discolouration. Sheet size: 43 1/3 x 39 inches.
A fine cop of one of the greatest maps of New England
This large, intriguing map of New England was drawn by a shadowy figure named Braddock Mead, an Irishman and a geographer, who had to change his name to escape prosecution for kidnapping and related charges. He chose the name John Green and continued his geographical and cartographical work with several different publishers, ending up with Thomas Jefferys, the leading map publisher in London at that time. Only one map actually bears the name "J. Green", but there are characteristic traits to Mead/Green's maps that make the attributions fairly certain, and Jefferys states that he worked on "many of my Geographical performances..." G. R. Crone brought Green's identity to light in two Imago Mundi articles in the early 1950s.
The map was the first large scale printed map of New England. Six different states of the map appeared in London between 1755 and 1794. This edition was engraved by Tobias Conrad Lotter, Matthew Seutter's son-in-law, in Augsburg, in 1776 based on the 4th state of the map. It is an exact copy of the Jefferys' map with the inset maps of Boston and of Boston Harbor and the vignette of the Pilgrims' landing at Plymouth in the cartouche. Interest in events taking place in New England in 1776 was of course intense, and the sharply drawn inset maps of Boston would have been especially appreciated.
The map is rich in fascinating information for New Englanders, and it is displayed with great clarity. From a historical viewpoint, Mead's map shows the extent of white European dominion in the region after a century and a half of settlement and growth.
G. R. Crone, "John Green. Notes on a neglected Eighteenth Century Geographer and Cartographer," Imago Mundi, VI (1950) p. 89-91; Crone, "Further Notes on Braddock Mead, alias John Green..." Imago Mundi, VIII (1951) p. 69; Mapping Colonial America. Degrees of Latitude. # 35; Cumming, British Maps of Colonial America, p. 45-47.
#12289$8,750.00
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 [MEAD, Braddock, alias John GREEN (c.1688-1757)]
A Chart of the North and South America including the Atlantic and Pacific Oceans with the nearest coasts of Europe, Africa and Asia
London: Thomas Jefferys, 19 Feb 1753. Folio (24 x 16 1/2 inches). Engraved map of the Americas, the Pacific and Atlantic Oceans on 6 double-page copper engraved sheets, with original outline colour (each sheet 24 x 30 1/4 inches). (Bound without the letterpress colour key slip, 1" square repaired area in lower right corner of the image area of the first map sheet). Contemporary marbled-paper over pasteboard, early manuscript title lettering in ink to backstrip, modern morocco-backed cloth box, green morocco title labels to spine and upper cover.
A very fine copy of this rare and fascinating atlas by an Irish cartographer of great ability: Braddock Mead (who worked under the name John Green) was one of the most gifted mapmakers working in London in the first half of the 18th-century. This atlas (essentially an unassembled six sheet wall map centered on the Americas] accurately documents European exploration in the Atlantic and Pacific Oceans up to the mid-eighteenth century.
Rare: only the Dupont copy and two others are listed as having sold at auction in the past thirty years. The six sheets of the atlas cover an area from 185 degrees west to 20 degrees east, and from 60 degrees south to 82 degrees north. The atlas records the tracks of all the latest voyages to the Arctic and the Bering Straits, as well as the Dutch voyages to the South Pacific. Overall, the work offers a clear record of the discoveries that had been made in the area as of 1753, just before an explosion of Western activity in the Pacific and the start of the search, in earnest, for the Northwest Passage. Each of the six double-page sheets includes tables recording distances and positions, the voyages of various explorers, and additional miscellaneous notes (many referring to other maps and mapmakers). Each map is individually titled along upper margin as follows:
Sheet I: 'Chart containing part of the Icy Sea with the adjacent Coast of Asia and America'
Sheet 2: 'Chart comprising Greenland with the Countries and Islands about Baffin's and Hudson's Bays'
Sheet 3: 'Chart containing the Coasts of California, New Albion, and Russian Discoveries to the North; with the Peninsula of Kamchatka, in Asia, opposite thereto; and Islands, dispersed over the Pacific Ocean, to the North of the Line'
Sheet 4: 'Chart of the Atlantic Ocean, with the British, French, & Spanish Settlements in North America, and the West Indies'
Sheet 5: 'Chart containing the greater part of the South Sea to the South of the Line, with the Islands dispersed thro' the same'
Sheet 6: 'Chart of South America, comprehending the West Indies, with the Adjacent Islands, in the Southern Ocean, and the South Sea'
Jefferys, the leading British mapmaker of the mid-eighteenth century, became geographer to the Prince of Wales in 1746 and geographer to the King in 1760. He published a remarkable number of maps and charts, many of the North American continent. "The genius behind Jefferys in his shop was a brilliant man who at this time went by the alias of John Green. He made a great six-sheet map of North and South America (1753), concerning which he said, 'The English charts of America being for the general very inaccurate, I came to a resolution to publish some new ones for the use of British navigators.'
In addition to his extensive cartographic abilities, Green's personal history also stands out from amongst the biographies of other 18th-century British map makers. John Green was born Braddock Mead in Ireland before 1688, married in Dublin in 1715 and around 1717 moved to London. He was imprisoned in 1728 for trying to defraud an Irish heiress. He also worked with Chambers on his Universal Dictionary. After he got out of gaol, he took the name of Green, and subsequently worked for Cave, Astley, and Jefferys. Mead 'had a number of marked characteristics as a cartographer ... One was his ability to collect, to analyze the value of, and to use a wide variety of sources; these he acknowledged scrupulously on the maps he designed and even more fully in accompanying remarks. Another outstanding characteristic was his intelligent compilation and careful evaluation of reports on latitudes and longitudes used in the construction of his maps, which he also entered in tables on the face of the maps ... Mead's contributions to cartography stand out ... At a time when the quality and the ethics of map production were at a low ebb in England, he vigorously urged and practiced the highest standards; in the making of maps and navigational charts he was in advance of his time. For this he deserves due credit." (Cumming).
Crone, "John Green. Notes on a neglected Eighteenth Century Geographer and Cartographer," Imago Mundi, VI (1950) p. 89-91; Crone, "Further Notes on Braddock Mead, alias John Green..." Imago Mundi, VIII (1951) p. 69; Cumming, British Maps of Colonial America, pp.45-47; Sabin, A Dictionary of Books Relating to America, 28538; Phillips, A List of Geographical Atlases in the Library of Congress, 1196; Phillips, A List of Maps of America, p.109
#17856$60,000.00
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 [MEAD, Braddock, alias John GREEN (c.1688-1757)]
[New England] A Map of the most Inhabited part of New England containing the Provinces of Massachusets [sic.] Bay and New Hampshire, with the Colonies of Conecticut and Rhode Island, Divided into Counties and Townships: The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations
London: Thomas Jefferys, November 29th, 1774. Copper-engraved map, with original outline colour, on four sheets, each sheet measuring approximately 20 x 19 1/4 inches, that if joined would form a map measuring approximately 40 x 39 1/2 inches. In good condition overall, except for some small expert repairs to old folds, and margins cut to within the plate mark.
The largest and most detailed map of New England that had yet been published, and one of the great maps of the east coast of America, by one of the greatest figures in 18th-century cartography: 'Mead's contributions to cartography stand out ... At a time when the quality and the ethics of map production were at a low ebb in England, he vigorously urged and practiced the highest standards' (Cumming, p.47)
This is the grandest, most accurate and detailed map of New England produced during the British colonial period. It depicts the entire region from Long Island Sound up north to line of 44'30 of latitude. While it shows that the coastal areas, and the lower Connecticut Valley were well settled, areas of the interior, especially in New Hampshire and the future Vermont were just developing, with the early boundaries of townships having recently been established by surveyors. Importantly, this map contains two detailed cartographic insets, one of the city of Boston (upper-left), and another of Boston Harbor on the lower-right sheet. The map is also adorned with a very handsome pictorial title cartouche, depicting the arrival of the Pilgrims at Plymouth Rock in 1620. The present map is the fifth state of this work, and has been significantly updated from the original issue of 1755.
The map's publisher, Thomas Jefferys (1719-71) was the leading British mapmaker of the mid-eighteenth century. He became the geographer to the Prince of Wales in 1746 and then to King George III in 1760. He published a remarkable number of maps and charts, and is best known for his posthumous work The American Atlas (1775), of which the present map was a part.
This map's maker, John Green, was an intriguing and larger-than-life figure, who has been called "the genius behind Jefferys". In addition to his extensive cartographic abilities, Green's personal history also stands out from amongst the biographies of other 18th-century British map makers. Green was born Braddock Mead in Ireland around 1688, married in Dublin in 1715 and moved to London in 1717. He was imprisoned in 1728 for trying to defraud an Irish heiress, and assumed his alias after his release from prison. He worked with Ephriam Chambers on his Universal Dictionary before joining the employ of Cave, Astley, and Jefferys. William Cumming remarked that 'had a number of marked characteristics as a cartographer ... One was his ability to collect, to analyze the value of, and to use a wide variety of sources; these he acknowledged scrupulously on the maps he designed and even more fully in accompanying remarks. Another outstanding characteristic was his intelligent compilation and careful evaluation of reports on latitudes and longitudes used in the construction of his maps, which he also entered in tables on the face of the maps ... Mead's contributions to cartography stand out ... At a time when the quality and the ethics of map production were at a low ebb in England, he vigorously urged and practiced the highest standards; in the making of maps and navigational charts he was in advance of his time. For this he deserves due credit.' (Cumming, p.45)
Degrees of Latitude, 35; McCorkle, New England in Early Printed Maps 774.4 and cf. 755.19 (first edition/state); Sellers & Van Ee, Maps & Charts of North America & West Indies 1650-1789, 799; Stevens & Tree, "Comparative Cartography" in Tooley, Mapping of America, 33(e); cf. Crone, "John Green. Notes on a neglected Eighteenth Century Geographer and Cartographer," Imago Mundi, VI (1950) p. 89-91; Crone, "Further Notes on Braddock Mead, alias John Green" Imago Mundi, VIII (1951) p. 69; Cumming, British Maps of Colonial America, pp.45-47.
#18629$12,000.00
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 MEAD, Braddock, alias John Green
[New England] A Map of the most Inhabited part of New England containing the Provinces of Massachusets Bay and New Hampshire, with the Colonies of Connecticut and Rhode Island, Divided into Counties and Townships. The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations
[Augsburg]: Tobias Conrad Lotter, [1776]. Hand-coloured engraving by T. C. Lotter, on four sheets. Good condition. Each sheet: 27 1/4 x 22 3/4 inches approx.
One of the great maps of New England
This large, intriguing map of New England was originally drawn by a shadowy figure named Braddock Mead, an Irishman and a geographer, who had to change his name to escape prosecution for kidnapping and related charges. He chose the name John Green and continued his geographical and cartographical work with several different publishers, ending up with Thomas Jefferys, the leading map publisher in London at that time. Only one map actually bears the name "J. Green", but there are characteristic traits to Mead/Green's maps that make the attributions fairly certain, and Jefferys states that he worked on "many of my Geographical performances..." G. R. Crone brought Green's identity to light in two Imago Mundi articles in the early 1950s.
The map was the first large scale printed map of New England. Six different states of the map appeared in London between 1755 and 1794. This edition was engraved by Tobias Conrad Lotter, Matthew Seutter's son-in-law, in Augsburg, in 1776 based on the 4th state of the map. It is an exact copy of the Jefferys' map with the inset maps of Boston and of Boston Harbor and the vignette of the Pilgrims' landing at Plymouth in the cartouche. Interest in events taking place in New England in 1776 was of course intense, and the sharply drawn inset maps of Boston would have been especially appreciated.
The map is rich in fascinating information for New Englanders, and it is displayed with great clarity. From a historical viewpoint, Mead's map shows the extent of European dominion in the region after a century and a half of settlement and growth.
G. R. Crone, "John Green. Notes on a neglected Eighteenth Century Geographer and Cartographer," Imago Mundi, VI (1950) p. 89-91; Crone, "Further Notes on Braddock Mead, alias John Green..." Imago Mundi, VIII (1951) p. 69; Mapping Colonial America. Degrees of Latitude. # 35; Cumming, British Maps of Colonial America, p. 45-47.
#19102$8,750.00
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 [MEAD, Braddock, alias John GREEN (c.1688-1757)] and Georges Louis LE ROUGE (1712-90)
[New England] A Map of the most Inhabited part of New England containing the Provinces of Massachusets Bay and New Hampshire, with the Colonies of Conecticut and Rhode Island, Divided into Counties and Townships: The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations
Paris: Chez Le Rouge rue des grands Augustins, 1777. Copper-engraved map, on four joined sheets, with original outline colour, in excellent condition. Sheet size: 38 1/2 x 40 1/4 inches.
A very fine copy of this highly important and large scale map of New England, the finest map of the region available to military commanders during the Revolutionary War
This is the grandest, most accurate and detailed map of New England produced during the British colonial period. It depicts the entire region from Long Island Sound up north to the line of 44'30 of latitude. While it shows that the coastal areas and the lower Connecticutt Valley were well settled, areas of the interior, especially in New Hampshire and the future Vermont were just developing, with the early boundaries of townships having recently been established by surveyors. Importantly, this map contains two detailed cartographic insets, one of the city of Boston (upper-left), and another of Boston Harbor on the lower-right sheet. The map is also adorned with a very handsome pictorial title cartouche, depicting the arrival of the Pilgrims at Plymouth Rock in 1620. The present map is the edition produced by Georges-Louis Le Rouge, then the royal Geographer to Louis XVI, and was significantly updated from the original issue of 1755. Copies of this issue would most certainly have been consulted by French commanders such as the Comtes D'Estaing and Rochambeau who both led forces in New England following France's entry into the Revolutionary War in support of the American cause in 1778.
This map's maker, John Green, was an intriguing and larger-than-life figure, who has been called "the genius behind Jefferys". In addition to his extensive cartographic abilities, Green's personal history also stands out from amongst the biographies of other 18th-century British map makers. Green was born Braddock Mead in Ireland around 1688, married in Dublin in 1715 and moved to London in 1717. He was imprisoned in 1728 for trying to defraud an Irish heiress, and assumed his alias after his release from prison. He worked with Ephriam Chambers on his Universal Dictionary before joining the employ of Cave, Astley, and Jefferys. William Cumming remarked that Mead/Green 'had a number of marked characteristics as a cartographer ... One was his ability to collect, to analyze the value of, and to use a wide variety of sources; these he acknowledged scrupulously on the maps he designed and even more fully in accompanying remarks. Another outstanding characteristic was his intelligent compilation and careful evaluation of reports on latitudes and longitudes used in the construction of his maps, which he also entered in tables on the face of the maps ... Mead's contributions to cartography stand out ... At a time when the quality and the ethics of map production were at a low ebb in England, he vigorously urged and practiced the highest standards; in the making of maps and navigational charts he was in advance of his time. For this he deserves due credit.' (Cumming, p.45).
McCorkle, New England in Early Printed Maps, 755.19; Sellers & Van Ee, Maps & Charts of North America & West Indies, 802; cf. Crone, "John Green. Notes on a neglected Eighteenth Century Geographer and Cartographer," Imago Mundi, VI (1950) p. 89-91; Crone, "Further Notes on Braddock Mead, alias John Green" Imago Mundi, VIII (1951) p. 69; Cumming, British Maps of Colonial America, pp.45-47.
#19735$7,500.00
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 [MEAD, Braddock, alias John GREEN (c.1688-1757)]
[New England] A Map of the most Inhabited part of New England containing the Provinces of Massachusets Bay and New Hampshire, with the Colonies of Conecticut and Rhode Island, Divided into Counties and Townships: The whole composed from Actual Surveys and its Situation adjusted by Astronomical Observations
London: Thomas Jefferys, November 29th, 1755 [but circa 1764]. Copper-engraved map, on four unjoined and untrimmed sheets as issued. Sheet size: of each 29 3/8 x 21 3/8 inches.
The largest and most detailed map of New England that had yet been published, and one of the great maps of the east coast of America, by one of the greatest figures in 18th-century cartography: 'Mead's contributions to cartography stand out ... At a time when the quality and the ethics of map production were at a low ebb in England, he vigorously urged and practiced the highest standards' (Cumming, p.47)
This is the grandest, most accurate and detailed map of New England produced during the British colonial period. It depicts the entire region from Long Island Sound up north to line of 44'30 of latitud | | | |
