Books and Manuscripts: A Spring Miscellany

BODMER, KARL Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse. [Tab. 23]. [Leipzig: Schmidt and Guenther, 1922] Hand-colored aquatint engraving (sheet size: 25 1/2 x 19 5/8 in.), by René Rollet after Bodmer. From the scarce Leipzig edition printed from the original copper-plates One of the most iconic images to emerge from the picturing of the American West, and certainly Bodmer's most famous, this highly-charged portrait of Péhriska-Rúhpa ("Two Ravens") presents the warrior and chief of the Hidatsa in way that encapsulates the vanished era of the Plains Indian. The portrait has a great sense of immediacy, intensity, of noise and movement. Péhriska-Rúhpa dances in his regalia as a principal leader of the Dog Society of his village. The white tips on the glossy black feathers of the headdress indicate the attachment of a tiny down feather to the point of each plume. The central vertical plume is painted red. Dyed horse hair floats from colored sticks attached to the shafts of the turkey feathers. All this will shortly be in motion again as the dancer resumes his movement to the cadence of drum and the rattle (made of small hooves or claws attached to a beaded stick) held in his right hand. The Dog Society was one of seven such societies among the men of the Mandan and Hidatsa Tribes. They were one of the main tenets by which Hidatsa society lived. As an individual progressed through life, it was necessary for him to purchase his entry into successive societies, starting with "the foolish dogs" at about ten to fifteen years of age and graduating to the society of the black-tailed deer for men over fifty. The Dog Society was the fourth of these progressions. Each society had a set number of members, so that an individual from a lower society could only buy entry to the higher society if there was a member of that society who was himself ready to move to the society above his. They all had individual rules, rituals, dances and regalia. All this information was carefully recorded by Prince Maximilian during the travellers' winter stop-over at Fort Clark in 1833-1834. This portrait, Bodmer's masterpiece, was painted in March 1834 towards the end of this stay. REFERENCE: Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

bodmer, karl | péhriska-rúhpa. moennitarri warrior in the costume of the dog danse. [tab. 23]. [leipzig: schmidt and guenther, 1922]

Important Americana

KARL BODMER PÉHRISKA-RÚHPA. MOENNITARRI WARRIOR IN THE COSTUME OF THE DOG DANSE (TAB. 23) Hand-colored aquatint engraving by René Rollet after Bodmer, [Leipzig: Schmidt and Guenther, 1922], framed sheet approx.: 648 by 498 mm 25 1/2 by 19 5/8 in

karl bodmer | péhriska-rúhpa. moennitarri warrior in the costume of the dog danse (tab. 23)

Fine Books and Manuscripts, Including Selections from the Collection of Barbara and Ira Lipman

Bodmer, Karl Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse. [Tab. 23]. [Leipzig: Schmidt and Guenther, 1922] Aquatint engraving (sheet size: 647 x 498 in). By René Rollet after Bodmer, hand-colored. Bodmer's most iconic image ﻿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 (Hunt). Perhaps the greatest image to emerge from the picturing of the American West, and certainly Bodmer's most famous, this highly-charged portrait of Péhriska-Rúhpa ("Two Ravens") presents the warrior and chief of the Hidatsa in way that encapsulates the vanished era of the Plains Indian. Péhriska-Rúhpa dances in his regalia as a principal leader of the Dog Society of his village. The Dog Society was one of seven such societies among the men of the Mandan and Hidatsa Tribes. They were one of the main tenets by which Hidatsa society lived. As an individual progressed through life, it was necessary for him to purchase his entry into successive societies, starting with "the foolish dogs" at about ten to fifteen years of age and graduating to the society of the black-tailed deer for men over fifty. The Dog Society was the fourth of these progressions. Each society had a set number of members, so that an individual from a lower society could only buy entry to the higher society if there was a member of that society who was himself ready to move to the society above his. They all had individual rules, rituals, dances and regalia. All this information was carefully recorded by Prince Maximilian during the travelers' winter stop-over at Fort Clark in 1833-1834. This portrait, Bodmer's masterpiece, was painted in March 1834 towards the end of this stay. 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 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), the men traveled in North America from 1832 to 1834. REFERENCE David C. Hunt, "Karl Bodmer and the American Frontier" in Imprint, Spring 1985, 18; Cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1

bodmer, karl | perhaps the greatest image to emerge from the picturing of the american west

Fine Books & Manuscripts, Including Americana

Bodmer, Karl Sih-Chidä & Mahchsi-Karehde. Mandan Indians. [Tab. 20]. Paris, Coblenz, and London: [1839-1842] Hand-colored aquatint engraving by Hürlimann after Bodmer, blindstamp to bottom (plate size: 501 x 416 mm; sheet size: 625 x 454 mm). Matted, glazed, and framed; not examined out of frame. A fine full-length double portrait by Bodmer depicting members of the Mandan tribe, composed from sketches made at Fort Clark, on the banks of the upper Missouri River, in the winter of 1833-1834. Bodmer’s detailed images capture a previously little-understood (and soon to vanish) way of life. Swiss-born Bodmer was engaged by Prince Maximilian of Wied-Neuwied to provide a record of his expedition in North America, principally among the indigenous tribes of the Plains. The pair voyaged alongside David Dreidoppel, Prince Maximilian’s servant and hunting companion, throughout the territory from 1832 to 1834. Bodmer’s portraits, often depicting village life and culture, are particularly notable for their capturing of individual personalities. The present portrait depicts two powerful figures of Mandan culture. On the left stands Sih-Chidä (“Yellow Feather”), a young warrior who was fascinated by the travelers’ work. Carried out over three days in early December 1833, Sih-Chidä’s portrait highlights his hair, embellished with long strings of dentalium shells and beads. In addition, the cluster of feathers at the back of his head may be an insignia of the Dog Society, a warrior group among the Plains tribes. Around his neck is draped a tippet of otter fur, the ends fringed with quill-wrapped leather. His heel-trailers are made of otter fur lined with red cloth, representing battle exploits. On the right is Mahchsi-Karehde (“Flying War Eagle”), who at just over six feet was the tallest of the Mandan. He also showed an interest in Bodmer's work and was a frequent visitor throughout their winter at Fort Clark, often bringing friends to look at Bodmer's drawings. Mahchsi-Karehde was a member of a band of warriors that regulated the important affairs of the tribe. The wolf tail on his heels and painted eagle feather in his hair similarly denote battle coup. Bodmer’s portraits represent the individuals and cultural traditions of the Mandan tribe—a history which would be largely lost in the years to follow. REFERENCES: Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

View 1 of Lot 1008: Bodmer, Karl | Sih-Chidä & Mahchsi-Karehde, a fine full-length double portrait

bodmer, karl | sih-chidä & mahchsi-karehde, a fine full-length double portrait

KARL BODMER ASSINIBOIN INDIANS (TAB. 32) Hand-colored aquatint engraving by Geoffroy after Bodmer, blindstamp, Paris, Coblenz and London: [1839-1842], framed sheet approx.: 627 by 448 mm 24 11/16 by 17 5/8 in

karl bodmer | assiniboin indians (tab. 32)

KARL BODMER PÉHRISKA-RÚHPA. [A MINATARRE OR BIG-BELLIED INDIAN] (TAB. 17) Aquatint engraving by Paul Legrand after Bodmer, state with three figures in the background, issue with no imprint or English sub-title, [Leipzig: Schmidt and Guenther, 1922], framed sheet approx.: 611 by 451 mm 24 1/16 by 17 3/4 in

karl bodmer | péhriska-rúhpa. [a minatarre or big-bellied indian] (tab. 17)

Fine Books and Manuscripts, Including Americana

View 1 of Lot 1011: Bodmer, Karl | Perhaps the greatest image to emerge from the picturing of the American West

BODMER, KARL Niagara Falls. [Tab. 39]. Paris, Coblentz and London: [1839-1842] Hand-colored aquatint engraving (sheet size: 18 x 24 3/4 in.), by Lucas Weber after Bodmer, blindstamp, issued with no date at end of English imprint; some mild vertical creases. One of greatest landscape images to result from the Bodmer's and Prince Maximilian's expedition Bodmer saw the Falls for the first time on 28 June 1834, and was clearly inspired by the scenic splendor of one of the great natural wonders of the world. He and Prince Maximilian had reached the Falls towards the end of their expedition. Leaving Vincennes, Indiana, on about 11 June, they had traveled east, arriving on the Ohio opposite Louisville, Kentucky. Here they took ship for Cincinnati and Portsmouth following the route of the Ohio Canal along the Scioto River north to Cleveland on Lake Erie. From here they took a steamboat to Buffalo, New York. Niagara Falls remained a favorite subject of artists throughout the first half of the nineteenth century, but the present representation is arguably one of the finest to appear in print.

bodmer, karl | niagara falls. [tab. 39]. paris, coblentz and london: [1839-1842]

Bodmer, Karl Péhriska-Rúhpa. [A Minatarre or Big-Bellied Indian]. [Tab. 17]. [Paris, Coblenz, and London: 1839-1842] Aquatint (sheet size: 629 x 457 mm). One of Bodmer's masterpieces of portraiture. 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. 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. REFERENCE Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1 PROVENANCE A powerful portrait of Péhriska-Rúhpa ("Two Ravens")

View 1 of Lot 10: Bodmer, Karl | Handcolored engraving by Paul Legrand after Bodmer, blindstamp. 

bodmer, karl | handcolored engraving by paul legrand after bodmer, blindstamp.

Bodmer, Karl Dacota Woman and Assiniboin Girl. [Tab. 9]. Paris, Coblenz, and London: [1839-1842] Handcolored aquatint (sheet size: 619 x 457 mm). Engraving by Desmadryl after Bodmer, blindstamp. 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 colorful 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. REFERENCE Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

View 1 of Lot 9: Bodmer, Karl | "Dacota Woman and Assiniboin Girl"

bodmer, karl | "dacota woman and assiniboin girl"

Bodmer, Karl [illustrator], and Prince Maximilian zu Wied-Neuwied

Bodmer, Karl [illustrator], and Prince Maximilian zu Wied-Neuwied Reise in das Innere Nord-America in den Jahren 1832 bis 1834. Coblenz: J.Hoelscher, 1839-1841 2 volumes, large 4to (310 x 257 mm). 12pp. subscribers' list, 1 engraved plan, 1 lithographic plate, 52 wood-engraved illustrations; without the folding meteorological table rarely found. Expertly bound to style in half tan calf over marbled paper-covered boards, flat spines divided into compartments by double gilt fillets and roll tool, second gilt-lettered, fourth gilt-numbered, others with repeat decoration in blind, original parts wrapper bound in. The Wilberforce Eames copy, the "Dean of American Bibliographers" Prince Maximilian was already an experienced naturalist and explorer in 1832, having made an important scientific expedition to Brazil in 1815-17. His preparations for his trip to North America including retaining the skilled artist, Karl Bodmer, to record illustrations of the journey. Arriving in the fall of 1832, the Prince ascended the Missouri River in the spring of 1833, going as far upstream as the American Fur Company post of Ft. Mackenzie in present-day Montana, and spending the winter at Ft. Clark, near the Mandan Indian villages. During this prolonged stay, he and Bodmer had ample opportunity to observe the Indian tribes of the Upper Missouri in their full glory, carefully recorded by Bodmer in watercolors. In the spring of 1834 they returned to Europe, and devoted the next five years to preparing the text and plates for this publication. Prince Maximilian and Bodmer were able to record in both words and pictures the Plains tribes in their heyday. They were witness to hunting parties, Indian dances, ceremonies and life among the Mandans and other tribes, as well as the incredible scenery on the upper Missouri before the era of mass settlement. PROVENANCE W. Eames (ownership signatures) REFERENCE Abbey, Travel II:615; Graff 4648; Howes M-443a ("dd"); Wagner-Camp 76

bodmer, karl [illustrator], and prince maximilian zu wied-neuwied | the extra-illustrated text volumes of reise in das innere nord-america in den jahren 1832 bis 1834

The John Golden Library: Book Illustration in the Age of Scientific Discovery

Wied-Neuwied, Maximilian zu, Prince — Karl Bodmer

Wied-Neuwied, Maximilian zu, Prince — Karl Bodmer Reise in das innere Nord-America in den Jahren 1832 bis 1834. Coblenz: J. Hoelscher, 1839-41 Together 4 volumes, comprising: 2 text volumes, 8vo (233 x 150mm); 1 oblong vignette atlas, 4to (255 x 308mm); and 1 oblong folio atlas (approx. 450 x 610mm). 48 large engraved aquatint tableau plates, all of which have full handcoloring, all after Bodmer; a later compiled set with resulting variance to margins, blind stamps and paper stock, with map and table usually bound in text bound into large folio atlas along with wrappers. All plates in vignette atlas also fully and vibrantly colored, occasional closed tear to margin, some light finger soiling, usual toning to text. All handsomely bound to style in half black morocco over blue marbled paper covered boards, black morocco labels to upper covers of atlas volumes. A fully colored copy. The greatest illustrated American travel narrative and the most important depiction of American Indians in the frontier era. Karl Bodmer was a little-known Swiss painter when he was engaged by Prince Maximilian to record his travels among the Plains Indians from 1832 to 1834—a time when the Plains and the Rockies were virtually unknown. With the rest of their company, the royal ethnologist and his artist journeyed from St. Louis up the Missouri River on the American Fur Company steamboat Yellowstone, stopping at a series of forts built by the Fur Company and meeting their first Native Americans at Bellevue. The travelers continued on another steamboat, Assiniboine, to Fort Union, where they met the Crees and Assiniboins. The expedition spent its first winter at Fort Clark, where the Mandans in particular excited Bodmer's attention, although he was also to draw the Mintari and Crow peoples. The explorers continued by keelboat to Fort Mackenzie, which proved to be the westernmost point of their journey. After living among and studying the Blackfeet for several weeks, Maximilian decided it was too dangerous to continue, so the travelers turned southward, reaching St. Louis in May 1834. Bodmer's engravings of the Indians encountered on the upper Missouri are among the most iconic and celebrated images of the American West. The work remains the first truly accurate depictions of the Plains Indians to reach the general public and one that was already a record of a lost way of life by the time it reached the public as the the 1837 smallpox epidemic killed more than half the Blackfeet and almost all of the Mandan tribes. REFERENCE: Abbey 615; Howes M443a."dd"; Pilling, Proof-Sheets 2521; Rader 3652; Sabin 47014; Wagner-Camp 76:1; Goetzmann [et al], Karl Bodmer's America (1984); Ruud, Brandon, Editor, Karl Bodmer's North American Prints, Omaha, 2004

View 1 of Lot 48: Wied-Neuwied, Maximilian zu, Prince — Karl Bodmer | The greatest illustrated American travel narrative

wied-neuwied, maximilian zu, prince — karl bodmer | the greatest illustrated american travel narrative

Bodmer, Karl Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse. [Tab. 23]. [Leipzig: Schmidt and Guenther, 1922] Aquatint engraving (sheet size: 648 x 498 mm). By René Rollet after Bodmer, handcolored. From the scarce Leipzig edition, printed from the original copper-plates. Perhaps the greatest image to emerge from the picturing of the American West, and certainly Bodmer's most famous, this highly-charged portrait of Péhriska-Rúhpa ("Two Ravens") presents the warrior and chief of the Hidatsa in way that encapsulates the vanished era of the Plains Indian. The portrait has a great sense of immediacy, intensity, of noise and movement. Péhriska-Rúhpa dances in his regalia as a principal leader of the Dog Society of his village. The white tips on the glossy black feathers of the headdress indicate the attachment of a tiny down feather to the point of each plume. The central vertical plume is painted red. Dyed horse hair floats from colored sticks attached to the shafts of the turkey feathers. The Dog Society was one of seven such societies among the men of the Mandan and Hidatsa Tribes. They were one of the main tenets by which Hidatsa society lived. As an individual progressed through life, it was necessary for him to purchase his entry into successive societies, starting with "the foolish dogs" at about ten to fifteen years of age, and graduating to the society of the black-tailed deer for men over fifty. The Dog Society was the fourth of these progressions. Each society had a set number of members, so that an individual from a lower society could only buy entry to the higher society if there was a member of that society who was himself ready to move to the society above his. They each had individual rules, rituals, dances, and regalia. All this information was carefully recorded by Prince Maximilian during the travelers' winter stopover at Fort Clark in 1833-1834. This portrait, Bodmer's masterpiece, was painted in March 1834 towards the end of this stay. Limited in number, the prints from the Leipzig edition are more scarce than, and compare favorably to, the first edition (Hunt). REFERENCE Hunt, "Karl Bodmer and the American Frontier," in Imprint (Spring 1985, p.18); cf.Graff 4648; cf. Howes M443a; cf. Pilling 2521; cf. Sabin 47014; cf. Wagner-Camp 76:1

View 1 of Lot 12: Bodmer, Karl | Perhaps the greatest image to emerge from the picturing of the American West

Bodmer, Karl Péhriska-Rúhpa. Moennitarri Warrior in the Costume of the Dog Danse. [Tab. 23]. [Leipzig: Schmidt and Guenther, 1922] Hand-colored aquatint engraving by René Rollet after Bodmer (plate size: 525 x 368 mm; sheet size: 648 x 498 mm); faintly toned, with one or two small marginal stains. Framed; not examined out of frame. Bodmer’s most iconic image, and perhaps the greatest image to emerge from the picturing of the American West. This highly-charged portrait of Péhriska-Rúhpa ("Two Ravens"), Bodmer’s greatest masterpiece, encapsulates the vanished culture of the indigenous tribes of the Plains. The striking portrait depicts the warrior and chief of the Hidatsa tribe dancing in his regalia as a leader of the Dog Society in his village. The Dog Society—recorded in detail by Prince Maximilian during his expedition with Bodmer—was an essential tenet of Mandan and Hidatsa culture. The fourth in a series of seven successive societies, through which "the foolish dogs" at about ten to fifteen years of age graduated until joining the society of the black-tailed deer for men over fifty, the Dog Society prescribed its own rules, rituals, dances, and regalia for members. The present portrait, painted in March 1834 as Bodmer neared the end of his stay, captures the significance of the society to the culture of the Plains tribes. The present portrait is 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 (Hunt). REFERENCES 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

View 1 of Lot 1009: Bodmer, Karl | His most iconic image, and perhaps the greatest image to emerge from the picturing of the American West

bodmer, karl | his most iconic image, and perhaps the greatest image to emerge from the picturing of the american west

Property from a Distinguished Private Collection

Property from a Distinguished Private Collection BODMER, KARL, AND PRINCE MAXIMILIAN ZU WIED-NEUWIED Voyage Dans l'Intérieur De l'Amérique Du Nord Executé Pendant les Années 1832, 1833 et 1834. Paris: Chez Arthus Bertrand, 1840-43 5 volumes (text: 3 volumes, 8vo [9 3/16 x 5 7/8 in.; 233 x 150mm]; vignette atlas: 1 oblong 4to [10 x 12 1/8 in.; 255 x 308mm]; atlas: 1 oblong folio [17 3/4 x 24 in.; 450 x 610]). French text: Half-titles, 1 lithographic plan, 31 plates of wood-engraved vignettes, 6 wood-engraved illustration; lacking map, scattered foxing, some browning. Vignette atlas: 33 engraved and aquatint plates, all of which feature vibrant hand-coloring; 10 plates supplied, minor foxing and fingersoiling, one or two marginal repairs. Atlas: 48 large engraved aquatint tableau plates, all of which have hand-coloring, all after Bodmer; 16 plates supplied with resulting variance to margins, blind stamps and paper stock, occasional matt burn or offsetting to supplied plates, some largely marginal minor foxing and fingersoiling one or two marginal closed tears repaired. All volumes bound to style, half black morocco over blue marbled paper covered boards, black morocco labels to upper covers of atlas volumes, each ruled, lettered, and decoratively bordered in gilt, spines rounded with gilt rules, text edges stained green; minor rubbing to boards. Fully hand-colored. The greatest illustrated American travel narrative and the most important depiction of American Indians in the frontier era. Prince Maximilian zu Wied-Neuwied's famed narrative of his trip to the United States and up the Missouri River in 1833-34, with its magnificent atlas of views and scenes of Indian life by Karl Bodmer, is justly celebrated as the greatest illustrated American travel narrative and the most important depiction of American Indians in the frontier era. The journey took place at a time when the unspoiled, mythic West of the exploration and fur trade era was still vibrant, though on the verge of being shattered by the expansion of the United States. Bodmer's engravings of the Indians encountered on the upper Missouri are among the most iconic and celebrated images of the American West. REFERENCE: Abbey 615; Howes M443a."dd"; Pilling, Proof-Sheets 2521; Rader 3652; Sabin 47014; Wagner-Camp 76:1; Goetzmann [et al], Karl Bodmer's America (1984); Ruud, Brandon, Editor, Karl Bodmer's North American Prints, Omaha, 2004

bodmer, karl, and prince maximilian zu wied-neuwied | voyage dans l'intérieur de l'amérique du nord executé pendant les années 1832, 1833 et 1834. paris: chez arthus bertrand, 1840-43

KARL BODMER SIH-CHIDÄ & MAHCHSI-KAREHDE. MANDAN INDIANS Hand-colored aquatint engraving by Hürlimann after Bodmer, blindstamp, Paris, Coblenz and London: [1839-1842], framed sheet approx.: 629 by 451 mm 24 3/4 by 17 3/4 in

karl bodmer | sih-chidä & mahchsi-karehde. mandan indians

Glorious America: The Wolf Family Collection

Karl Bodmer 1809 - 1893 The Buffalo Hunt stamped with the artist's estate stamp vente K. Bodmer (lower right) ink and pencil on paper 9½ x 16½ in. (24.1 x 41.7 cm.)

the buffalo hunt

Bodmer, Karl Péhriska-Rúhpa. [A Minatarre or Big-Bellied Indian]. [Tab. 17]. [Paris, Coblenz, and London: 1839-1842] Hand-colored aquatint engraving by Paul Legrand after Bodmer, blindstamp (plate size: 508 x 365 mm; sheet size: 628 x 457 mm); very faintly toned. Framed; not examined out of frame. One of Bodmer's masterpieces of portraiture, composed during his stop-over at Fort Clark in the winter of 1833-1834. The present portrait depicts Péhriska-Rúhpa (“Two Ravens”), the warrior and chief of the Hidatsa tribe. Portrayed as a figure of great dignity, Bodmer displays Péhriska-Rúhpa’s power and rank symbolically through 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 made from the foreclaws of grizzly bears, preferably those taken in the spring when the claws were large, comparatively unworn, and showing white tips. With a decorated buffalo robe over one shoulder and an elaborate pipe in the crook of his other arm, Péhriska-Rúhpa is endowed with power, respect, and reverence. REFERENCES Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

View 1 of Lot 1010: Bodmer, Karl | Péhriska-Rúhpa, one of Bodmer's masterpieces of portraiture

bodmer, karl | péhriska-rúhpa, one of bodmer's masterpieces of portraiture

BODMER, KARL, AND PRINCE MAXIMILIAN ZU WIED-NEUWIED

BODMER, KARL, AND PRINCE MAXIMILIAN ZU WIED-NEUWIED TRAVELS IN THE INTERIOR OF NORTH AMERICA...WITH NUMEROUS ENGRAVINGS ON WOOD, AND A LARGE MAP. TRANSLATED FROM THE GERMAN BY H. EVANS LLOYD. TO ACCOMPANY THE ORIGINAL SERIES OF EIGHTY-ONE ELABORATELY-COLORED PLATES. LONDON: ACKERMANN AND CO, [1839-]1843 2 volumes. Text: 1 volume, 4to (12 x 9 5/8 in.; 305 x 244 mm). 59 wood-engraved text vignettes, 2 wood-engraved text maps. Contemporary English green half morocco over marbled paper-covered boards, spine with raised bands in six compartments, second gilt lettered, others with repeat decoration in gilt. Plates: 1 volume, folio (22 7/8 x 16 1/2 in.; 581 x 394 mm). 81 hand-colored aquatint plates, comprising 48 tableau plates and 33 vignette plates, all after Karl Bodmer, many heightened with gum arabic, all with the artist's blind-stamp beneath the imprint, by J. Hurlimann, L. Weber, C. Vogel, and others, printed by Bougeard, 1 large folding engraved "Map to illustrate the Route of Prince Maximilian of Wied" by Lieut.-Col. W. Thorn, with large scenic vignette and with the route of the expedition outlined in color. Bound in green half morocco over contemporary marbled paper-covered boards, spine with raised bands in eight compartments, second gilt lettered, others with repeat decoration in gilt A very fine set of the greatest illustrated American travel narrative and the most important depiction of American Indians in the frontier era: the rare English edition, with all 81 plates issued “superbly colored” and on large paper This exemplary set has two main advantages when compared to the much more common German or French language editions: the text is in English and therefore, arguably, in its most accessible form for many Americana collectors, and each of the 33 vignette plates are printed on large sheets uniform with the tableau plates and hand-colored. Having both the tableau and vignette plates in folio and colored (as called for on the text title) is only otherwise found in the most expensive deluxe German and French editions. Prince Maximilian zu Wied-Neuwied's text was first published in German in Coblenz from 1839 through 1841, with the present abridged English translation being issued in London by Ackermann in 1843. However, as Lloyd makes clear in the preface, the plates are first issues: "Some specimens of the plates having been brought to London, were so much admired by many competent judges, that Messrs. Ackermann were induced to agree with the Paris publisher for a limited number of copies of the plates." (The plates, as well as the maps, have trilingual captions: German, English, and French.) 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 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 steamboat Yellowstone on 10 April 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 their powerful pride and dignity. Transferring from the Yellowstone to another steamboat, the Assiniboine, they continued to Fort Clark, visiting there the Mandan, Mintari and Crow tribes, then the Assiniboines 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. The travelers finally reached St. Louis in May 1834. Besides being the first really accurate portrayal of the Plains Indians to reach a Western audience, Bodmer's sketches proved to be doubly valuable after the 1837 smallpox epidemic which killed more than half the Blackfeet and almost all the Mandans, "Bodmer's visual work, together with Prince Maximilian's detailed studies of these tribes, from the primary accounts of what became virtually lost cultures" (Goetzmann p. 21). H. Evans Lloyd, the translator of the present work, also included a detailed and devastating eye-witness report of "the almost total extinction" of many of the peoples surveyed in the work. LITERATURE: Abbey, Travel II:615 (the only published listing of the plates); Graff 4648; Howes M443a ("dd"); Wagner-Camp 76 Bodmer, Karl, & Prince Maximilian zu Wied-Neuwied. A very fine set of the rare English edition, with all 81 plates issued “superbly colored” and on large paper

bodmer, karl, and prince maximilian zu wied-neuwied. travels in the interior of north america... a very fine set of the greatest illustrated american travel narrative and the most important depiction of american indians in the frontier era: the rare english edition, with all 81 plates issued “superbly colored” and on large paper

BODMER, KARL Péhriska-Rúhpa. [A Minatarre or Big-Bellied Indian]. [Tab. 17]. [Paris, Coblenz and London: 1839-1842] Hand-coloured aquatint engraving (sheet size: 24 3/8 x 17 3/8 in.), by Paul Legrand after Bodmer, state with three figures in the background, blindstamp. One of Bodmer's masterpieces of portraiture, carried out during a winter stop-over at Fort Clark in 1833-1834 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. 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. REFERENCE: Graff 4648; Howes M443a; Pilling 2521; Sabin 47014; Wagner-Camp 76:1

bodmer, karl | péhriska-rúhpa. [a minatarre or big-bellied indian]. [tab. 17]. [paris, coblenz and london: 1839-1842]

Bodmer, Karl (illustrator) — Prince Maximilian zu Wied-Neuwied

Bodmer, Karl (illustrator) — Prince Maximilian zu Wied-Neuwied Reise in das Innere Nord-America in den Jahren 1832 bis 1834. Coblenz: J. Hoelscher, 1839-1841 (text); Coblenz, Paris, and London: J. Hoelscher, A. Bertrand, Ackermann and Co., [1839-1841] (plates) 4 vols. (Text: 2 vols., large 4to. [292 x 248 mm]; Tableau Atlas of Plates: oblong folio [432 x 603 mm]; Vig. Atlas of Plates: small oblong folio 292 x 432 mm]). Text: 12pp. subscribers' list, 52 wood-engraved illustrations. Tableau Atlas: 48 aquatint plates, 17 of which hand-colored, after Karl Bodmer, each plate with the Bodmer blind-stamp, engraved by J. Hurliman, L. Weber, C. Vogel, Salathé, Himely, Prévost, R. Rollet, P. Legrand, Desmadryl and others, large folding engraved map by Lieutenant Colonel W. Thorn titled "Map to illustrate the Route of Prince Maximilian of Wied" hand-colored in outline. Vig. Atlas: 33 aquatint plates, 3 of which hand-colored, after Karl Bodmer, heightened with gum arabic, each blindstamped "C. Bodmer | Direct," engraved by C. Vogel, L. Weber, J. Outhwaite, J. Hürlmann, Himely, Martens and others, folding meteorological table. Extra-illustrated with the original lettered blue wrapper bound at the front of the large atlas. Expertly bound to style in half dark blue morocco over blue patterned paper-covered boards, spine gilt, speckled edges.

View 1 of Lot 1010: Bodmer, Karl (illustrator) — Prince Maximilian zu Wied-Neuwied | The pinnacle of illustrated works devoted to North America

bodmer, karl (illustrator) — prince maximilian zu wied-neuwied | the pinnacle of illustrated works devoted to north america

Hand-colored aquatint engraving by Hürlimann after Bodmer, Paris, Coblenz and London: April 1th (sic) 1841. Framed.  sheet size: 632 x 451 mm  24 7/8 x 17 3/4 in

sih-chidä & mahchsi-karehde: hand-colored aquatint engraving of the mandan indians

Hand-colored aquatint engraving by René Rollet after Bodmer, [Leipzig: Schmidt and Guenther, 1922]. Framed. sheet size: 648 x 498 mm  25 1/2 x 19 5/8 in

"péhriska-rúhpa": hand-colored aquatint engraving of a moennitarri warrior in the costume of the dog dance

Four hand-coloured aquatint engraving by John Outhwaite after Bodmer, blindstamp, issue with no date after English imprint, Paris, Coblentz and London: [1839-1842]. Each framed in bird's-eye maple, gold liner, French mat. lot includes: Tower-Rock view on the Mississippi — Punka Indians camped on the banks of the Missouri — Beaver Hut on the Missouri — Cave-In-Rock. View on the Ohio each sheet approximately: 572 by 635 mm  22 1/2 by 25 in

reise in das innere nord-america: four hand-colored engravings 

Hand-colored aquatint and engraving with gum arabic, 1843-44, from Reise in das innere Nord-America, on wove paper, framed.

sih-chida and mahchsi-karehde

Hand-colored aquatint and engraving with gum arabic, circa 1839-41, by Paul Legrand, from Reise in das innere Nord-America, on wove paper, framed

pehriska-ruhpa

Fine Printed and Manuscript Americana, Including Cartography

Lithograph (28 x 23 1/4 in.; 711 x 591 mm), by Th. Fischer.

Lithograph (28 x 23 1/4 in.; 711 x 591 mm), by Th. Fischer. Very minor spotting, a few stray chips.

indianer [mehkskeme-sukahs, blackfoot-chief]. [tab. 45]. cassel: th. fischer, [ca. 1870]

12pp. subscribers' list to front of vol. II. ILLUSTRATION: 52 wood-engraved illustrations. Tab. atlas: 48 aquatint plates, 17 hand-colored), after Karl Bodmer, each plate with the Bodmer blind-stamp, engraved by J. Hurliman, L. Weber, C. Vogel, Salathé, Himely, Prévost, R. Rollet, P. Legrand, Desmadryl, and others, 1 large folding engraved map by Lieut. Col. W. Thorn, titled “Map to illustrate the Route of Prince Maximilian of Wied”, hand-colored in outline. Vig. atlas: 33 aquatint plates, 3 hand-colored, after Karl Bodmer, heightened with gum arabic, each blindstamped “C. Bodmer | Direct”, engraved by C. Vogel, L. Weber, J. Outhwaite, J. Hürlmann, Himely, Martens and others, 1 folding meteorological table. Extra-illustrated with the original front Tab. Atlas, lettered blue wrapper bound at the front of the Tab. Atlas. 

12pp. subscribers' list to front of vol. II. ILLUSTRATION: 52 wood-engraved illustrations. Tab. atlas: 48 aquatint plates, 17 hand-colored), after Karl Bodmer, each plate with the Bodmer blind-stamp, engraved by J. Hurliman, L. Weber, C. Vogel, Salathé, Himely, Prévost, R. Rollet, P. Legrand, Desmadryl, and others, 1 large folding engraved map by Lieut. Col. W. Thorn, titled “Map to illustrate the Route of Prince Maximilian of Wied”, hand-colored in outline. Vig. atlas: 33 aquatint plates, 3 hand-colored, after Karl Bodmer, heightened with gum arabic, each blindstamped “C. Bodmer | Direct”, engraved by C. Vogel, L. Weber, J. Outhwaite, J. Hürlmann, Himely, Martens and others, 1 folding meteorological table. Extra-illustrated with the original front Tab. Atlas, lettered blue wrapper bound at the front of the Tab. Atlas.  4 volumes. Text: 2 volumes, large 4to. (11 1/2 x 9 3/4 in.; 291 x 248 mm); Tab. Atlas of plates: oblong folio (17 x 23 3/4 in.; 432 x 603 mm); Vig. Atlas of plates: oblong small folio (11 1/2 x 17 in.; 292 x 432 mm). BINDING: Expertly bound to style in half dark blue morocco over blue patterned paper covered boards, spine gilt, speckled edges. Text with some occasional and faint spotting, generally not affecting images, plates with a few expert marginal repairs, a few stray instances of spotting, generally not affecting plates.

reise in das innere nord-america in den jahren 1832 bis 1834. text: coblenz: j. hoelscher, 1839-1841; plates: coblenz, paris, and london: j. hoelscher, a. bertrand, ackermann and co., [1839-1841] 

Four lithographs, the first two after designs by Millet (Delteil 25-6), all drawn on stone by Bodmer, three printed with beige tint stone (Delteil 25 lacking tint stone), all first states, before letters,1852, published by Goupil & Cie., on chine collé, with large margins, in good condition apart from tears at the sheet edges, the largest measuring 4 inches, scuffing and soiling in the margins, each sheet backed with Japan (4 prints)

une histoire des premiers colons d'amérique (the story of the first american pioneers)

4 volumes (text: 3 volumes, 8vo [9 1/2 x 6 1/4 ins]; atlas: 1 oblong folio [17 x 23 1/2 ins]). French text: Half-titles, 1 lithographic plan, 31 plates of wood-engraved vignettes, 6 wood-engraved illustrations, large engraved folding map. Atlas: 81 engraved and aquatint plates (48 large aquatint tableau plates [19 handcolored as issued], 33 vignette plates on full folio sheets [7 handcolored as issued]), all after Bodmer.  Text volumes uncut and with the original front and rear wrappers bound in. Text volumes: expertly bound to style in half dark blue morocco and  period cloth covered boards, spine gilt, marbled endpapers.  Atlas: contemporary half dark blue morocco and cloth covered boards, flat spine decoratively tooled and lettered in gilt, marbled endpapers. Internally a fine set.

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Results for "Karl Bodmer"