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browsing 4347 items
displaying items 1001 to 1100
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 BODMER, Karl (1809-1893)
[Mouth of the Fox River (Indiana)] [Tab. 5]
[Tab. 5]. [Paris, Coblenz and London: 1839-1842]. Aquatint engraving by Himely after Bodmer, proof on india paper mounted, blindstamp, issue without imprint line or title in English. Some spotting. Plate mark: 16 1/4 x 21 1/4 inches. Sheet size: 17 9/16 x 24 1/2 inches.
A rare India proof. A highly evocative view of the confluence of the Fox and Wabash Rivers: the almost pre-Columbian scene is shown at sunset, the final red light of the sun adding an ochre wash to the entire scene. Cattle drink from their watering-place on the opposite bank, a flock of Carolina Parrakeets settles down noisily at the roost for the night, beneath a Bald Eagle perches watchfully: all this is allied with the untamed nature of the landscape and gives us a view of America as it was before the arrival of the white man. Prince Maximilian's health had suffered on the journey out to New Harmony, and during November and December 1832, whilst he recovered, Bodmer and Dreidoppel made many excursions along the rivers in search of zoological specimens. On 6 December 1832 Maximilian was sufficiently recovered to accompany them and as he recorded in his journal `Mr. Bodmer made a drawing from an interesting landscape, the estuary of the Fox River into the Wabash', he goes on, the water was `clear and dark green' and the surrounding forest of `colossal Plantanus trees were shining white in the densely tangled thicket'.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15619 $3,375.00  
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 BODMER, Karl (1809-1893)
Snags (sunken trees) on the Missouri [Tab. 6]
[Tab. 6]. Paris, Coblentz and London: 1839-1842. Aquatint engraving by L. Weber and Hurlimann after Bodmer, proof on india paper mounted, blindstamp. India paper lifting slightly, small marginal tears to mount not affecting image area, light marginal dampstaining. Plate mark: 14 3/16 x 17 1/8 inches. Sheet size: 18 1/2 x 24 3/4 inches.
A rare Inia proof of this almost apocalyptic view of the treacherous waters of the Missouri River. The river was the longest in the country and was considered the most hazardous of all the western rivers to navigate. Edging their way between the rafts of driftwood became increasingly difficult for the travelers aboard the steamer Yellow Stone, as she made her way up river toward the mouth of the River Platte. On 26 April 1833 she passed the mouth of the Nemaha River and again encountered snags and sandbars. In his journal for that date Maximilian noted that `For a long time we could not get away from this and often ran aground… but finally with a little force of the engine we moved on'.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what was to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15620$2,450.00
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 BODMER, Karl (1809-1893)
Dacota Woman and Assiniboin Girl [Tab. 9]
[Tab. 9]. Paris, Coblenz and London: [1839-1842]. Aquatint engraving by Desmadryl after Bodmer. proof on india paper mounted, blindstamp. Plate mark: 19 1/2 x 14 3/8 inches. Sheet size: 24 1/2 x 18 inches.
A rare India proof of this fine full-length double portrait, a composite from drawings made by Bodmer on 1 June 1833 and October 1833. The woman is Chan-Chä-Uiá-Teüin (`Woman of the Crow Nation') whose portrait was painted at Fort Pierre, her dress is trimmed with white beads and has a fringe of twisted metal cones (`tinklers') at the hem which would have made a musical sound as she walked. Over the dress she wears a painted summer robe of buffalo skin with the hair removed, the colourful pattern on the robe is called a box and border style. The child is an unusual subject for Bodmer, a little Blackfoot girl but living with the Assiniboins: perhaps a captive taken during a skirmish. She wears leggings and ornaments that are smaller versions of those worn by adults.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15621$3,500.00
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 BODMER, Karl (1809-1893)
Péhriska-Rúhpa. [A Minatarre or big-bellied Indian] [Tab. 17]
[Tab. 17]. [Paris, Coblenz and London: 1839-1842]. Aquatint engraving by Paul Legrand after Bodmer, proof on india paper mounted, state with three figures in the background, issue without imprint line or English sub-title. Some light spotting. Plate mark: 20 1/8 x 14 3/16 inches. Sheet size: 24 1/2 x 17 5/8 inches.
There are two distinct states of this image: one with three small figures in the mid-ground to the right of the main figure, and a second where these figures have been removed
A rare India proof of this powerful portrait of Péhriska-Rúhpa ('Two Ravens') presents the warrior and chief of the Hidatsa as a figure of great dignity. He adopts an attitude that would have been familiar to all men of power and rank, his worth displayed symbolically in his clothing and adornment. His shirt is trimmed with bands of bright yellow quillwork, elaborately fringed with ermine, locks of human hair and dyed horsehair. He wears a striped woolen breechclout and quilled leggings of deer skin. Around his neck is a necklace of bear claws, fastened to an otter-skin band and spaced with blue and white beads. Symbols of great wealth, these necklaces were made from the foreclaws of grizzly bears, preferably from animals taken in the spring when the claws were large comparatively unworn and showing white tips. A decorated buffalo robe over one shoulder and arm, Péhriska-Rúhpa holds his decorated pipe in the crook of his other arm. This is one of Bodmer's masterpieces of portraiture, and was carried out during the travellers' winter stop-over at Fort Clark in 1833-1834
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1
#15622$7,000.00
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 BODMER, Karl (1809-1893)
Fort Union on the Missouri [Tab. 28]
[Tab. 28]. Paris, Coblenz and London: [1839-1842]. Aquatint engraving by Beyer and Weber, proof on india paper mounted, blindstamp. Small area of dampstaining to upper blank margin not affecting plate area. Plate mark: 13 1/2 x 16 3/4 inches. Sheet size: 18 x 24 5/8 inches.
A rare India proof. The travelers, aboard the steamer Assiniboine, arrived at Fort Union on 24 June 1833, after a journey of seventy-five days up the Missouri River from St.Louis. Like most fur company posts on the Missouri at this time, the fort was situated on a low open prairie sufficiently large to accommodate the large encampments of numerous Indians during the height of the trading season. The present view is taken from a raised elevation to the north of the fort, looking back south towards the river.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15625$4,250.00
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 BODMER, Karl (1809-1893)
Assiniboin Indians [Tab. 32]
[Tab. 32]. Paris, Coblenz and London: [1839-42]. Aquatint engraving by Geoffroy after Bodmer, proof on india paper mounted, blindstamp. Two small tears to lower blank margin not affecting plate area. Plate mark: 20 x 14 1/4 inches. Sheet size: 24 7/8 x 18 1/4 inches.
A rare India proof of this fine full-length double-portrait composed by Bodmer from individual portraits executed at Fort Union in June of 1833. The figure in the foreground is Pitätapiú, a young warrior and member of the Stone band with his hair ornamented with two small shells. On his left arm is a rawhide shield, painted and with an amulet attached to assure success on horse raids. A riding whip with a wooden handle hangs from a fur loop around his wrist. In his right hand he holds a combination bow/lance that was probably only for ceremonial purposes. The name of the figure in the background is not known, but it is recorded that he was initially very solemn until Bodmer's music box made him laugh. His quilted and beaded shirt is fringed with leather rather than the more usual hair. He cradles a much-prized trade flintlock in the crook of his left arm.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15626$6,250.00
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 BODMER, Karl (1809-1893)
Boston Lighthouse [Vig. 1]
[Vig. 1]. [Paris, Coblenz and London: 1839-42]. Aquatint engraving by Martens after Bodmer, proof on india paper mounted, issue with no imprint and no titles in French or German, blindstamp. Tear to lower blank margin not affecting plate area, mount spotted. Plate mark: 8 1/2 x 11 inches. Sheet size: 12 1/2 x 17 5/8 inches.
A rare India proof of this evocative scene recalling Bodmer's arrival at his gateway to the New World: the American brig Janus, with Bodmer and Prince Maximilian aboard, is here seen at the end of the relatively perilous Atlantic crossing, passing the lighthouse and making its way into Boston harbour. It is the morning of 4th July 1832 and the explorers are greeted by the cry of wheeling sea-birds, perhaps roused by the sound of the cannons being fired in the distance, in celebration of the United States fifty-sixth anniversary of Independence.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the countries leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Well-armed with information and advice, the party finally left St.Louis aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assinboine, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assinboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what was to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15628$1,000.00
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 BODMER, Karl (1809-1893)
[View on the Delaware, near Bordentown [Vig. 2]
[Vig. 2]. Paris, Coblenz, and London: 1839-42]. Aquatint engraving by Ch. Vogel after Bodmer, proof on idia paper mounted, issue without imprint line and without title in English, some spotting to mount. Plate mark: 9 1/8 x 12 1/4 inches. Sheet size: 18 3/8 x 17 7/8 inches.
A rare India proof of this delightful, lively scene on the banks of the Delaware in high summer. A steamer awaits the arrival of passengers who are disembarking from their coaches. One coach pulls up full of late arrivals. Some passengers who boarded at an earlier stop take advantage of the delay to stretch their legs: all this and the tranquil landscape are brilliantly captured by Bodmer in this image executed on 24th July 1832 close by the 300 acre estate of Joseph Bonaparte, the exiled elder brother of the French Emperor.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15630$850.00
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 BODMER, Karl (1809-1893)
Forest Scene on the Tobihanna; Alleghany Mountains [Vig. 4]
[Vig. 4]. Paris, Coblenz and London: [1839-42]. Aquatint engraving by L. Weber after Bodmer, proof on india paper mounted, blindstamp. Some spotting to mount. Plate mark: 9 x 12 1/4 inches. Sheet size: 12 1/4 x 18 1/8 inches.
A rare India proof of this beautiful tranquil scene was sketched by Bodmer during the carriage trip from Bethlehem to Mauch Chunk. Leaving on the 23 August 1832 they passed the Delaware Water Gap in the afternoon arriving at Dutotsburgh that evening. They explored the area the following day before leaving on the morning of the 25th, arriving at Sach's public house that evening. The present view is from a sketch that Bodmer made on the afternoon of the 27 August, Maximilian noted in his journal that the artist waded backwards and forwards across the stream until he found exactly the right spot from which to sketch the bridge. The travellers subsequently continued on their journey, reaching Mauch Chunk on the evening of 30 August.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the country's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15632$600.00
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 BODMER, Karl (1809-1893)
Penitentiary near Pittsburgh [Vig. 6]
[Vig. 6]. Paris, Coblenz and London: [1839-42]. Aquatint engraving by Lucas Weber after Bodmer, proof on india paper mounted, blindstamp. Some spotting to mount. Plate mark: 9 7/16 x 13 1/2 inches. Sheet size: 12 1/2 x 18 1/4 inches.
A rare India proof. Bodmer made this fine sketch of the prison near Pittsburgh during the traveler's stay of ten days in and around Pittsburgh in September 1832. Prince Maximilian and Dreidoppel had reached Pittsburgh around mid-night on 26 September. They took rooms at the exchange Hotel and were soon joined there by Bodmer. Maximilian described Pittsburgh as `a rather old city of vast extent' and they took some time in exploring the area. Making periodic excursions out into the surrounding countryside, eventually leaving on 8 October. This penitentiary was considered a model prison, and was touted as an example for Europeans.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the countrry's leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15634$375.00
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 BODMER, Karl (1809-1893)
Cutoff-River. Branch of the Wabash [Vig. 8]
[Vig. 8]. Paris, Coblenz and London: [1839-42]. Aquatint engraving by Weber after Bodmer, proof on india paper mounted, blindstamp. Plate mark: 9 1/8 x 12 3/4 inches. Sheet size: 12 5/16 x 18 5/16 inches.
A rare India proof of this highly dramatic scene that amply displays Bodmer's love of the natural landscape. A day's excursion on a little frequented tributary of the Wabash draws to a close, the light is fading, the artist leaves his canoe wedged against a half-submerged tree-trunk long enough to make one final sketch before heading home. A Turkey Vulture settles down to roost. During Prince Maximilian's five month stay at New Harmony, Indiana, Bodmer had ample opportunity to explore the surrounding landscape. The present view was probably carried out in late November or early December 1832.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. They arrived in Boston in July 1832, traveled on to Philadelphia, where they stayed with Napoleon Bonaparte's elder brother Joseph. From here they headed west across Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, visiting all the important German settlements en route. Their most important stop on their route west was at the utopian colony of New Harmony in Indiana. The Prince spent five months there in the company of some of the countries leading scientific men, and studying all the relevant literature on backcountry America. On 24 March 1833 the party reached St. Louis, Missouri, and the start of the journey into Indian country.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15635$725.00
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 BODMER, Karl (1809-1893)
Beaver Hut on the Missouri [Vig. 17]
[Vig. 17]. Paris, Coblenz and London: [1839-42]. Aquatint engraving by Salathé after Bodmer, proof on india paper mounted, issue with imprint line, blindstamp. Light spotting. Plate mark: 10 x 13 1/2 inches. Sheet size: 12 3/8 x 18 inches.
A rare India proof. Bodmer here pictures beavers and their lodge seen on 17 July 1833 whilst the party made their way from Fort Union up the Missouri River to Fort McKenzie. As there was no steamboat traffic beyond Fort Union they traveled aboard the keelboat Flora. The Flora made her way by sail, oar or man-hauling through low waters, swift currents, rain and clouds of mosquitoes during this first part of the journey.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15639$875.00
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 BODMER, Karl (1809-1893)
A Blackfoot Indian on Horseback [Vig. 19]
[Vig. 19]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured engraving by Beyer after Bodmer, issue without imprint line. Sheet size: 12 3/4 x 16 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.18)
A powerful image painted by Bodmer at Fort McKenzie, between the 9th August and early September 1833. Bodmer shows horse and man not as master and servant but as participants in a partnership: the image stands as a potent symbol of the Plains Indian's relationship to his environment as a whole. The Blackfeet are the archetypal Plains Indians for whom buffalo provided nearly all their needs. Because of this dependence, they were one of the first tribes to see the possibilities of the horse when it became available in the eighteenth century, and had soon developed a well-deserved reputation for their horsemanship, as well as maintaining huge herds of the animals. The combination of the horse with the gun proved overpowering, and for a while they were the masters of the northern plains.
Karl Bodmer's paintings show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15640$1,200.00
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 BODMER, Karl (1809-1893)
Mexkemahuastan. Chief of the Gros-ventres de Prairies [Vig. 20]
[Vig. 20]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Hürlimann after Bodmer. Plate mark: 12 x 9 inches. Sheet size: 18 9/16 x 12 5/8 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
Bodmer painted this portrait of Mexkemáuastan (`Stirring Iron'), an Atsina or Gros Ventre chief and medicine man, on about 5 August 1833. The keelboat Flora stopped opposite an Atsina camp at the mouth of the Judith River and was quickly overrun by friendly but insistent Atsinas, including `Stirring Iron'. He gave particular cause for concern because he had threatened to kill David Mitchell (the superintendant of Fort McKenzie) the previous year. However, on this occasion, and later at Fort McKenzie he gave no further cause for concern.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15641$950.00
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 BODMER, Karl (1809-1893)
The Elkhorn Pyramid on the Upper Missouri [Vig. 21]
[Vig. 21]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by A. Fournier after Bodmer, issue without imprint line. Plate mark: 10 x 13 1/4 inches. Sheet size: 12 3/4 x 16 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
A rare India proof. In July 1833, between Forts Union and McKenzie, the keelboat Flora stopped to allow Maximilian and his party to examine a remarkable cairn of elk antlers on the prairie, just inland from the Missouri River. The ground in all directions was littered with the antlers cast during the bulls' annual shedding. Each Blackfoot hunting party had collected antlers as they passed, adding them to the growing pile, and sometimes marking them with red paint to indicate the number in the party. Intended as a charm to ensure a successful hunt, by the time it was sketched by Bodmer it was over fifteen feet high and contained over a thousand antlers.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15643$300.00
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 BODMER, Karl (1809-1893)
Mähsette-Kuiuab Chief of the Cree-Indians [Vig. 22]
[Vig. 22]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Tavernier after Bodmer, issue without imprint line. Sheet size: 15 3/4 x 12 7/16 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
Sketched by Bodmer at Fort Union in mid-October 1833, Mähsette-Kuiuab (or `Le Sonant' as he was known by the French) was a powerful Cree chief and medicine man. He apparently used a bear skull as a charm or emblem and was considered particularly adept at telling the future. His body tattoos are very striking, but were not uncommon amongst the Cree where they were a feature of their culture: the woman tattooed chiefly for decoration, the men for religious reasons or as a reflection of rank. The Cree were the southernmost of the major subarctic tribes and originally were well placed for trade between the Chippewyan to the north and the Chippewa to the south.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15645$600.00
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 BODMER, Karl (1809-1893)
Mándeh-Páhchu. A young Mandan Indian [Vig. 24]
[Vig. 24]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Hurlimann after Bodmer. Sheet size: 16 x 12 3/4 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
A distinguished image of a proud and successful man: Mándeh-Páhchu (`Eagle's Beak') was a Mandan warrior whose portrait Bodmer began on 11 March 1834 towards the end of the period that he and Prince Maximilian spent at Fort Clark, between the Knife and Heart Rivers, in the territory of the Mandans and the Hidatsas. The subject is richly adorned with beaded hair-brows with long strings of alternating blue beads and dentalium shells tipped with what appear to be strips of ermine fur; large square earings, probably of abalone shell; an ermine tail, fur bands and heavy beads hang in his hair; and around his neck, two types of bead necklaces. Mándeh-Páhchu carries a wooden flute decorated with otter fur, and is wrapped in a buffalo hide robe.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15648$850.00
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 BODMER, Karl (1809-1893)
Ischohä-Kakoschóchatä. Dance of the Mandan Indians [Vig. 25]
[Vig. 25]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by N. Desmadryl after Bodmer. Tears to upper and lower blank margins not affecting plate area. Plate mark: 9 3/4 x 13 inches. Sheet size: 12 3/4 x 16 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
Here, Bodmer ably depicts all the energy, excitement, movement and proud intensity of the Mandan's dance. During the travelers winter sojourn at Fort Clark, Prince Maximilian recorded on 28th December 1833 that `About noon we again heard the Indian drums: several soldiers announced that the band which had lately purchased the dance of the half-shorn head. The whole company, very gaily and handsomely dressed, soon afterwards entered the fort..About twenty vigorous young men, with the upper part of the body naked...painted and ornamented in the most gaudy manner, formed a circle in the courtyard of the fort. As soon as the drum was beat, the dancers bent their bodies forward, leaped up with both feet together...In this manner they danced for about a minute in a circle, then gave a loud shout, and, having rested a little, began the dance again, and so on alternately..'
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15650$950.00
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 BODMER, Karl (1809-1893)
The travelers meeting with the Minatarre Indians. near Fort Clark [Vig. 26]
[Vig. 26]. Paris, Coblentz and London: [1839-1842]. Aquatint engraving by Alex Manceau after Bodmer, proof on india paper mounted, issue with no date in imprint line, blindstamp. Some spotting to mount. Plate mark: 11 1/8 x 13 3/8 inches . Sheet size: 12 5/16 x 18 inches.
A rare India proof of one Bodmer's most famous images: the only depiction he made of both his sponsor, Prince Maximilian, and of himself. The travelers spent the winter of 1833-1834 at Fort Clark, between the Knife and Heart rivers in the territory of the Mandan and Hidatsa Tribes, Bodmer here shows the their first meeting to with the Hidatsas outside the palisade fortification of the fort; a carefully composed image ably portraying the wary curiosity with which the representatives of two very different ways of life greeted each other. Bodmer stands, top-hatted, to the far right, Prince Maximilian is next to him, Dreidoppel is visible behind the two of them. The individuals amongst the Hidatsa include Ahschüpsa Masihichsi (`Chief of the Pointed Horn') whom Bodmer had painted on 28 February 1834.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15651$2,100.00
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 BODMER, Karl (1809-1893)
Pachtüwa-Chtä. An Arrikkara Warrior [Vig. 27]
[Vig. 27]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Talbot after Bodmer. Plate mark: 12 x 8 1/2 inches. Sheet size: 16 x 12 5/8 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
A fine powerful portrait of a proud successful warrior. Bodmer and Prince Maximilian were introduced to this member of the Arikara tribe by Mató-Tópe ( a Mandan chief) in March 1834 whilst they overwintered at Fort Clark. Pachtüwa-Chtä had been a member of a war party that had attacked and killed three traders near the Heart River in 1830. He stands, armed with a gunstock club with a painted metal blade, his head adorned with symbols of his prowess in battle. Although there were many reports of the Arikara (or Arikaree), their hostility towards the whites ensured that they were only rarely encountered by either Bodmer or Maximilian. In return for posing for his portrait Pachtüwa-Chtä asked for a picture of a bear against a forested background which he was probably going to employ as part of his personal medicine as an aid in either hunting or battle.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
`David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 1985, p.18.
Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1.
#15653$950.00
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 BODMER, Karl (1809-1893)
The travelers meeting with the Minatarre Indians. near Fort Clark [Vig. 26]
[Vig. 26]. Paris, Coblentz and London: 1842. Aquatint engraving by Alex Manceau after Bodmer, issue with date added to English imprint, blindstamp. Some surface soiling to right outer margin. Sheet size: 12 5/16 x 18 inches.
This is one Bodmer's most famous images: the only depiction he made of both his sponsor, Prince Maximilian, and of himself. The travelers spent the winter of 1833-1834 at Fort Clark, between the Knife and Heart rivers in the territory of the Mandan and Hidatsa Tribes, Bodmer here shows the their first meeting to with the Hidatsas outside the palisade fortification of the fort; a carefully composed image ably portraying the wary curiosity with which the representatives of two very different ways of life greeted each other. Bodmer stands, top-hatted, to the far right, Prince Maximilian is next to him, Dreidoppel is visible behind the two of them. The individuals amongst the Hidatsa include Ahschüpsa Masihichsi (`Chief of the Pointed Horn') whom Bodmer had painted on 28 February 1834.
Karl Bodmer's images show great versatility and technical virtuosity and give us a uniquely accomplished and detailed picture of a previously little understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian zu Wied-Neuwied (1782-1867) specifically to provide a record of his travels in North America, principally among the Plains Indians. In the company of David Dreidoppel (Prince Maximilian's servant and hunting companion), their travels in North America were to last from 1832 to 1834. Well-armed with information and advice, the party finally left St.Louis, on the most important stage of their travels, aboard the steamer Yellow Stone on April 10 1833. They proceeded up the treacherous Missouri River along the line of forts established by the American Fur Company. At Bellevue they encountered their first Indians, then went on to make contact with the Sioux tribe, learning of and recording their little known ceremonial dances and powerful pride and dignity. Transferring from the Yellow Stone to another steamer, the Assiniboin, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboins at Fort Union, the main base of the American Fur Company. On a necessarily much smaller vessel they journeyed through the extraordinary geological scenery of that section of the Missouri to Fort Mackenzie in Montana, establishing a cautious friendship with the fearsome Blackfeet. From this, the westernmost point reached, it was considered too dangerous to continue and the return journey downstream began. The winter brought its own difficulties and discomforts, but Bodmer was still able to execute numerous studies of villages, dances and especially the people, who were often both intrigued and delighted by his work. The portraits are particularly notable for their capturing of individual personalities, as well as forming a primary account of what were to become virtually lost cultures.
Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1.
#15654$1,400.00
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 BODMER, Karl (1809-1893)
Ptihn-Tak-Ochatä. Dance of the Mandan Women [Vig. 28]
[Vig. 28]. [Leipzig: Schmidt and Guenther, 1922]. Hand-coloured aquatint engraving by Ch. Geoffroy after Bodmer. Plate mark: 9 1/2 x 12 3/4 inches. Sheet size: 12 1/2 x 15 3/4 inches.
From the scarce Leipzig edition printed from the original copper-plates. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition. (David C. Hunt, "Karl Bodmer and the American Frontier," Imprint/Spring 85, p.1
The dance of the women of the Mandan White Buffalo Cow Society was performed for the factor and his guests at Fort Clark on 25 December 1833. Bodmer and Prince Maximilian overwintered at Fort Clark, between the Knife and Heart Rivers in the territory of the Mandans and the Hidatsas, and made full use of their time to record in detail the life, history and beliefs of the Indian Tribes around them. Both the Mandans and the Hidatsas were divided into a series of age-graded societies into which a person successively purchased membersh | | | |
