- Leochares, Apollo Belvedere 4th Century
B.C. (uncovered in late 15th century), Vatican Museum; and in profile
- John White, The Flyer
(1587-88, British Museum)
- John White, The Marks of the Chief Men
of Virginia , 1587-88
- Jacques Le Moyne, Laudonnierus et Rex Athore
ante Columnam a Praefecto Prima Navigatione Locatam Quamque Venerantur
Floridenses
(1564, New York Public Library)
- Spanish coat-of-arms
- The Pepperrell Limner, Mary Hirst;
and larger
(ca. 1710; The Detroit Institute of Arts)
- Edward Hicks, Peaceable Kingdom
(1834, Oil on canvas, National Gallery of Art, Washington, D.C.)
- William Bartram, Drawing of Pistia Stratiotes
(Water Lettuce) (1765)
- John Singleton Copley, Paul Revere
(1768-70, Museum of Fine Arts, Boston)
- Benjamin West, The Death of General Wolfe
(1770, National Gallery of Canada)
- Benjamin West, Penn's treaty with the Indians
(1771, Pennsylvania Academy of Fine Arts)
- Benjamin West, Colonel Guy Johnson
and Karanghyontye (Captain David Hill)
(1776, National Gallery of Art, Washington, oil on canvas)
- Matthew Pratt, The American School
(1765, The Metropolitan Museum of Art)
- Gilbert Stuart, George Washington, The
Lansdowne Portrait
(1796, Pennsylvannia Academy of Fine Arts)
- John Vanderlyn, Death of Jane McCrea
...and larger
(1804, Wadsworth Atheneum, Hartford, Connecticut)
Selection from Joel Barlow's epic poem The
Columbiad (1807, Book 6, II. 363-80; 425-58; 615-712)
- Charles Wilson Peale, The Artist in His
Museum
(1822, Pennsylvania Academy of Fine Arts)
- Charles Wilson Peale, The Exhumation of
the Mastodon
(1806, The Peale Museum, Baltimore)
- Charles Bird King, Petalesharro
(Generous Chief), Pawnee
by Charles Bird King
(1822, White House, Washington D.C.)
- Anon., The Plantation
(circa 1825, The Metropolitan Museum of Art, New York)
- Thomas Cole, Falls of Kaaterskil
(1826, The Warner Collection of Gulf States Paper Corporation, Tuscaloosa,
Alabama)
- Thomas Cole, Daniel Boone and His Cabin
on the Great Osage Lake
(1826, Mead Art Museum, Amherst College, Massachusetts)
- Thomas Cole, Landscape Scene from
the Last of the Mohicans
(1827, Oil on canvas. New York State Historical Association, Cooperstown,
NY, USA
- Thomas Cole, Scene from the Last
of the Mohicans
(1826, Oil on canvas. Terra Museum of American Art, Chicago, IL, USA
- Thomas Cole Collection
(Yale University)
- Alexandre-Marie Colin, Othello and Desdemona
(1829)
- John Gadsby Chapman, Baptism of Pocahontas
Oil on canvas, 12' x 18', Commissioned 1837; placed 1840, Rotunda,
Capitol, Washington, D.C.
- The Bootan Hall Portrait of "Lady
Rebecca"
National Portrait Gallery, Smithsonian Insitution, Washington D.C.
- Portraits of Black Hawk
- Black Hawk (Makataimeshekiakiak)
Painter: John Cameron (active 1848-1872) after James Otto Lewis (1836),
in The Aboriginal Portfolio (1853)
- Muck-a-tah-mish-a-kah-kaik. The Black
Hawk. A Sac Chief
Painter: George Catlin, 1932
From James C. Prichard The Natural History of Man (London:
Hippolyte Balliere, 1845)
- Muck-a-tah-mish-a-kah-kaik, Black Hawk
Painter: Geroge Catlin, 1832
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1744)
- Black Hawk and His Son Whirling Thunder
Painter: John Wesley Jarvis, 1833
- Black Hawk or Makataimeshekiahiah
Painter: Charles B. King, Washington,1837
in Thomas McKenney & James Hall's History of the Indian Tribes
of North America (Philadelphia, 1837-44)
- Black Hawk
Painter: Robert Sully, 1830s
- Paintings from The Indian Tribes of North America: With Biographical
Sketches and Anecdotes of the Principal Chiefs (1837-44)
The following pictures were scanned from the following edition:
The Indian Tribes of North America: with Biographical Sketches
and Anecdotes of the Principal Chiefs.... . A New Edition, Edited
by Frederick Webb Hodge. 3 Vols. Edinburgh: John Grant, 31 George
IV. Bridge, 1933.
First printed as:
Thomas McKenney & James Hall. History of the Indian Tribes of
North America. Philadelphia: 1837-1844. Folio. 120 (121) hand
colored lithographs.
- War Dance of the Sauks and Foxes ,
Facing page, Volume 1
- Portrait of Thomas McKenney -- "Faithfully
yours, Tho. W. McKenney" , between pages vi and vii.
- Portrait of James Hall -- "Yours truly,
James Hall" , page between pages xxii and xxiii.
- Red Jacket, A Seneca War Chief ,
between pages 6 and 7, Volume 1
- Se-Quo-Yah, or George Guess, Inventor
of the Cherokee Alphabet , between pages 130 and 131, Volume
1
- Major Ridge, A Cherokee Chief ,
between pages 368 and 369, Volume 1
- Ma-Ka-Tai-Me-She-Kia-Kiah or "Black Hawk"
A Sauk Brave, between pages 58 and 59, Volume 2
- Keokuk, Chief of the Sauks and Foxes,
between pages 116 and 117, Volume 2
- John Ridge, A Cherokee Interpreter,
between pages 326 and 327, Volume 2
- The Chippeway Widow, between pages
334 and 335, Volume 2
- Encampment of Piekann Indians, Near Fort
McKenzie, on the Muscleshell River , facing page, Volume 3
- Po-Ca-Hon-Tas, The Princes who rescued
Captain Smith (For Notes on the Portrait, see pp. ix-xii)[sic],
between pages 120 and 121, Volume 3
- John Ross, A Cherokee Chief, between
pages 312 and 313, Volume 3
- Paintings by George Catlin
- George Catlin, Nah-se-us-kuk, Whirling
Thunder, son of Black Hawk
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1844)
- George Catlin, Kee-o-kuk, The Running Fox
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1844)
- George Catlin, Keokuk on horseback
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1844)
- George Catlin, Wah-pe-kee-suck, White
Cloud
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1844)
- George Catlin, Napope
From James C. Prichard, The Natural History of Man (London:
Hippolyte Balliere, 1845)
- George Catlin, Wi-jun-jon, Pigeon's Egg
Head, going to and returning from Washington
From, Letters and Notes on the Manners, Customs, and Conditions
of North American Indians (London, 1844)
- Map of area where Black Hawk War was fought
Map concept by Judy Palenaude
- George Caleb Bingham, Daniel Boone Escorting
Settlers Through the Cumberland Gap
(1851-2, Washington University Gallery of Art, St. Louis, Missouri)
- "Map to Accompany Prof. Agassiz's 'Sketch'"
In, Types of Mankind: Or, Ethnological Researches, Based upon the
Ancient Monuments, Paintings, Sulptures, and Crania of Races, and
upon their Natural, Geographical, Philological, and Biblical history:
Illustrated by Selections from the Inedited [sic] Papers of Samuel
George Morton, M.D.,
By J. C. Nott, M.D., and Geo. R. Gliddon
additional contributions from, Prof. L. Agassiz, LL.D.: W. Usher,
M.D.; and Prof. H.S. Patterson, M.D.
(Philadelphia: Lippincott, Grambo & Co., 1854) unnumbered page, appearing
between page (lxxviii) [sic] and (49) [sic]
- "III. European" and "IV. American" detail
from "Tableau to accompany Porf. Agassiz's 'Sketch' Nott and Gliddon's
Types of Mankind, 1854 [sic]"
In, Types of Mankind... (1854)
attribted to "T. Sinclair's lit. Phil."
unnumbered page, appearing between page lxxvi and (lxvii) [sic]
- Frederick E. Church, The Natural Bridge,
Virginia
(1852, Collection Bayly Art Museum, The University of Virginia, Charlottesville)
- Frederick E. Church, Heart of the Andes
(1859, The Metropolitan Museum of Art, NY)
- Frederick E. Church, Cotopaxi
(Detroit Institute of Art, 1862)
- Frederick E. Church, Rainy Season in the
Tropics
(1866, The Fine Arts Museums of San Francisco)
Detail #1
Detail #2
- Tree Entwined by Sipos, Woodcut from
a Photgraph by G. Leuzinger
Larger view of Tree...
(in Journey in Brazil by Professor and Mrs. Agassiz, 1867,
p. 55)
- William James, Head of Alexandrina
Larger view of Head of Alexandrina
(in Journey in Brazil by Professor and Mrs. Agassiz, 1867,
p. 245)
- James A. M. Whistler, The White Girl
(Symphony in White, No. 1)
(1862, National Gallery of Art, Washington, D.C.)
- Albert Bierstadt, The Rocky Mountains,
Lander's Peak
(1863, The Metropolitan Museum of Art, New York)
- Albert Bierstadt, The Last of the Buffalo
(1889, The Corcoran Gallery of Art, Washington, D.C.)
- Thomas Hovenden, The Last Moments
of John Brown
(1884, The Metropolitan Museum of Art, New York)
- Picturesque America, edited by William Cullen Bryant (1874)
Bryant's Preface and information about the pictures
- Cascade in Virigina (title page to volume
1)
Artist: Harry Fenn, Engraver R. Hinshelwood
- Niagra
Artist: Harry Fenn, Engraver S.V. Hunt
- Richmond, from the James
Artist: Harry Fenn, Engraver: R. Hinshelwood
- Mount Washington Road
Artist: Harry Fenn, Engraver: S. V. Hunt
- City of New Orleans
Artist: Alfred R. Waud, Engraver: D. G. Thompson
- Mount Shasta
Artist: James D. Smillie, Engraver: E. P. Brandard
- Mirror Lake, Yosemite Valley
Artist: Harry Fenn, Engraver: S. V. Hunt
- City of Providence
Artist: A. C. Warren, Engraver: R. Hinshelwood
- Indian Rock, Narragansett
Artist: Wm. S. Haseltine, Engraver: S. V. Hunt
- City of Detroit
Artist: A. C. Warren, Engraver: R. Hinshelwood
- Dome of the Capitol (title page
to volume 2)
Artist: Harry Fenn, Engraver: E. P. Brandard
- New York, from Brooklyn Heights
Artist: A. C. Warren, Engraver: E. P. Branard
- Philadelphia, from Belmont
Artist: Granville Perkins, Engraver: R. Hinshelwood
- Sunrise, from South Mountain, the Catskills
Arist: Harry Fenn, Engraver: S. V. Hunt
- Emigrants Crossing the Plains
Artist: F. O. C. Darley, Engraver: H. B. Hall
- Californians Lassoing Bear
Artist: F. O. C. Darley, Engraver: F. Holl
- The Rocky Mountains
Artist: W. Whittredge, Engraver R. Hinshelwood
- Terrace, Central Park
Artist: C. Rosenberg, Engraver: G. R. Hall
- Washington, from Arlington Heights
Artist: W. L. Sheppard, Engraver: R. Hinselwood
- Thomas Anshutz, The Ironworkers' Noontime
(1880, The Fine Arts Museums of San Francisco)
- Thomas Eakins, The Gross Clinic
(1875, Oil on canvas, Jefferson Medical College of Thomas Jefferson University)
- Thomas Eakins, Swimming (The Swimming
Hole)
(1885, Oil on canvas, Amon Carter Museum, Fort Worth, Texas)
- Thomas Eakins, Walt Whitman
(1887, Oil on canvas, The Pennsylvania Academy of Fine Arts)
- Thomas Eakins, The Agnew Clinic
(1889, Oil on canvas, Philadelphia Museum of Art)
- Thomas Eakins, Concert Singer
(1890, Oil on canvas, Philadelphia Museum of Art)
- John Singer Sargent, Daughters of Edward Darley Boit
(1882, Oil on canvas, Museum of Fine Arts Boston)
- John Singer Sargent Henry James
(1913, Oil on canvas, National Portrait Gallery, London)
- John Singer Sargent Henry James
(1916, Charcoal, Royal Library at Windsor Castle)
- Jacob Riis, Lodgers in a Crowded Bayard Street
Tenement -- Five Cents a Spot
(1890, Museum of the city of New York)
- Alfred Stieglitz, The Terminal
(1892, International Center of Photography)
- Alfred Stieglitz, The "Flat-iron"
(1903, International Center of Photography, New York)
-
Illustrations to Pudd'nhead Wilson (1894)
- George Bellows, Both Members of This Club
(1909, National Gallery of Art, Washington, D.C.)
- Charles Sheeler, American Landscape
(1930, The Museum of Modern Art, New York)
- Jacob Lawrence, The Migration Series,
Panel No. 57: "The female worker was also one of the last groups to
leave the South"
(1940-41, The Phillips Collections, Washington, D.C.)
- Charles Demuth, I Saw the Figure 5 in Gold
(1949, Metropolitan Museum of Art)
- The Dominion Jar
- Hills Brothers Coffee can
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