The United States Bureau of Indian Affairs was established in 1825 to manage relations between the American government and Native Americans and to negotiate Treaties to foster trade and end conflicts. Many of these Treaties were unfair and resulted in the United States acquiring vast swathes of land across the American West for agriculture and settlement, forcibly removing Native American groups to reservations, often thousands of miles away from their ancestral lands.

Between 1821 and 1842, the Bureau and its predecessor, the Office for Indian Trade, commissioned artists to paint oil portraits of prominent Indigenous leaders as they gathered to make Treaty or to petition against earlier Treaties. The leaders who travelled to Washington, DC often followed a similar route. Having travelled to Washington with a government officer, they would then be entertained in the city, meeting Representatives from Congress and other officials; occasionally they would also have an audience with the President.  Gifts would regularly be exchanged, with leaders receiving Treaty medals from the Bureau, from Congress or from the President. Finally, often wearing the medal, they would visit the artist Charles Bird King (1785–1862), who would paint a portrait. By the 1830s, delegations would also be taken around King’s ‘Indian Gallery’ to view his collection of portraits of Native Americans.

Those who did not visit Washington were instead painted by travelling artists such as Peter Rhindisbacher (1806–34) and James Otto Lewis (1799–1858). For instance, delegates to the Treaty of Prairie du Chien in 1825 were painted by Lewis, who had travelled to Lake Michigan between 1823 and 1834 with Bureau officials to observe and record meetings. Lewis, commissioned by the Bureau, published some of his portraits in 1835-6 under the title The Aboriginal Port Folio, the first collection of lithographed portraits of Native Americans. His pictures were then copied by King for his Gallery and a selection of these were lithographed in preparation for the present work, History of the Indian Tribes of North America (1836–44).

King produced over 140 portraits of Native Americans for his Gallery. He later gave his collection to the National Institute, which passed them to the Smithsonian Institution in 1858. Seven years later, a fire destroyed many of the original paintings, leaving the lithographs in the History as their best record. By comparing King’s lithographs to surviving drawings in the Smithsonian collection and to photography of the Native American leaders he painted, it looks as though King amended his portraits for his intended American and European audience. Rather than depicting people realistically, he devised a composite facial structure so that all those he painted adhered to nineteenth-century American and European stereotypes of how a Native American person ‘should’ look. Despite this, many of the surviving portraits provide accurate details of different Native American dress and serve to be among first American depictions in colour of Native Americans from the Great Plains and the Pacific Northwest.

The letterpress for the History of the Indian Tribes of North America was a collaboration between Thomas McKenney (1785–1859), the Superintendent of the Bureau of Indian Affairs until 1830, and James Hall (1793–1868), a noted writer specialising in the American settlement of the Great Plains. Their biographical sketches used Bureau reports on contemporary figures who had come to make Treaty, or accounts of those deceased Native Americans who were already well known, such as Joseph Brant (Thayendanegea) (1742–1807) and Pocahontas (Matoaka) (c.1596–1617). McKenney and others in the United States felt that, with the continued advancement of American settlement westwards, it was only a matter of time until the Indigenous population either assimilated with American society or died out. As such, the History was to serve as the ultimate record of the Indigenous population of North America before this occurred. The biographies often contain pejorative or racialised language and demonstrate the prejudices of the authors, regularly falling back on longstanding notions of the ‘Noble Savage’, but they also provide a wealth of information on the lives of Indigenous figures and Native American customs in the early nineteenth century. The accounts were accompanied by lithographs of King and Lewis’s portraits. These were made at Philadelphia, which by the 1830s had become an important site for lithography in the United States, by the firm of John T. Bowen (c.1801–56). Several of the plates were signed by Alfred Hoffy (1796–1872), Bowen’s frequent collaborator. The work was published in parts by the Philadelphia publisher F. W. Greenough and issued to subscribers from 1836 until 1842. A London edition, issued by the publishers Campbell & Burns and with lithographs by Charles Hullmandel, followed in 1837. The third volume of the series, which contained McKenney's essay on the history of contact between Native Americans and Europeans, was published at Philadelphia in 1844 by Daniel Rice and James G. Clark.

A list of subscribers' signatures at the end of the third volume shows that William IV, his consort Queen Adelaide, Victoria, Duchess of Kent and Princess Victoria (later Queen Victoria) were all subscribers to the History. The set in the Royal Library was bound for Queen Victoria, probably by James Mackenzie, the Queen’s preferred bookbinder in the 1840s.

Today, McKenney and Hall’s History has been used by Native American communities and scholars to identify and describe significant figures whose names may otherwise have been lost due to the upheaval of the period. It has also allowed Indigenous communities to reconnect with cultural practices and viewpoints that had been at risk of extinction due to government policies up to the middle of the twentieth century.

Lithographs in this volume (titles as printed given in italics):

Frontispiece: War Dance – group of Winnebago (Ho-Chunk) after a picture by Peter Rhindisbacher (1806–34). Figures are numbered but no accompanying key. Lithograph, 1838.

Red Jacket. A Seneca War Chief – portrait of Sagoyewatha ‘Keeper Awake’ (born Otetiani, European name, Red Jacket), c.1750–1830). Seneca (Onödowága). Lith., 1837.

Kish-kal-wa. A Shawanoe Chief – portrait of Kiscallawa (c.1735–after 1825). Shawnee. Lith., 1837.

Mo-hon-go. An Osage Woman – portrait of Mohongo. Osage (Wazhazhe). Lith., 1838

Shin-ga-ba-W’Ossin. A Chippeway Chief – portrait of Shingabawossin/Zhingaabewasin ‘Flat-person-stone’ (c.1763–c. 1830). Ojibwe/Chippewa (Anishinaabewaki). Lith., 1838

Push-ma-ta-ha. A Choctaw Warrior – portrait of Pushmataha (Apushamatahahubi, c.1764/5–1824). Choctaw. Lith., 1838.

Tens-kwau-ta-waw. The Prophet. – portrait of Tenskwatawa (born Lalawethika, ‘He Makes a Loud Noise’, 1775–1838). Shawnee. Lithograph signed ‘AH’ (Alfred Hoffy, 1796–1872). Lith., 1838.

Esh-at-hum-leah. A Sioux Chief – portrait of Ishtakhaba ‘Sleepy Eyes’ (c.1780–c. 1860). Sisseton Dakota. Lith., 1838.

Waa-pa-shaw. A Sioux Chief – portrait of Wabasha II ‘The Leaf’ (c.1773–1836). Mdewakanton Dakota. Lith., 1838.

Meta-koosega. A Chippeway Warrior – portrait of Metakoosega ‘Pure Tobacco’ (active 1824-6). Ojibwe. Signed ‘AH’ (Alfred Hoffy). Lith., 1838.

Wesh-cubb. A Chippeway Chief – portrait of Wiishkobak ‘the Sweet’ (active 1825—painted that year at Prairie du Chien). Ojibwe/Chippewa (Anishinaabewaki). Lith., 1838.

Little-Crow. A Sioux Chief – portrait of Cetanwakanmani ‘Hawk that hunts walking’ (European name, Little Crow I). Mdewakanton Dakota. Lithograph signed ‘AH’ (Alfred Hoffy). Lith., 1838.

Se-quo-yah – portrait of Sequoyah (Sikwayi, European name, George Gist, or Guess) (c.1770–1843). Cherokee (Anigiduwagi). Lithograph signed ‘RT’. Lith., 1838.

Naw-kaw – portrait of Nawkaw (1735-1833). Winnebago (Ho-Chunk). Lith., 1838.

Chon-mon-i-case. An Otto Half Chief – portrait of Shaumonekusse (Su Manyi Kathi ‘Prairie Wolf’) (c.1785–1837). Otoe (Jiwére). Lithograph signed ‘AH’ (Arthur Hoffy). Lith., 1838.

Hayne-Hujihini. The Eagle of Delight – portrait of Hayne Hudjihini ‘Eagle of Delight’ (c.1795–1822). Otoe (Jiwére). Lithograph signed ‘AH’ (Arthur Hoffy). Lith., 1838.

Qua-ta-wa-pea. A Shawanoe Chief – portrait of Quatawapea ‘the Man who Swims Below and Above the Water’ (European name, John Lewis) (c.1760–1826). Shawnee. Lith., 1838.

Payta Kootha. A Shawanoe Warrior – portrait of Paytakootha ‘Flying Clouds’ (known to Americans as Captain Reed). Shawnee. Lith. 1838.

Ki-on-twog-ky or Corn Plant. A Seneca Chief – Portrait of Gaiänt’wakê (or Kaiiontwak’on) ‘Cornplanter’ (European Name, John Abeel) (bet. 1732-46–1836). Seneca. Lith., 1838.

Pa-she-pa-haw. A Sauk Chief – Portrait of Pashepahaw (American nickname, ‘The Stabber’). Sauk (Othâkîawa). Lith. 1838.

Caa-tou-see. An Ojibway – Portrait of Caatousee/Aquaod ‘Creeping out of the Water’ (active c.1825). Ojibwe/Chippewa (Anishinaabewaki). Lith. 1838.

Chippeway Squaw & Child – full-length profile portrait of an Ojibwe woman carrying a child on her back. Lith. 1838.

Pet-a-le-shar-ro. A Pawnee Brave – Portrait of Petalesharo (c.1797–c.1836). Skidi Pawnee. Lith. 1838.

Chono ca pe. An Ottoe Chief – Portrait of Chono Ca Pe (active 1821–2). Otoe. Lith. 1838.

Wa-na-ta. Grand Chief of the Sioux – Full-length portrait of Wanata/Waneta ‘One who Charges’ (c.1795-1848). Western Dakota (Yanktonai). Lith. 1838.

Peah-mus-ka. A Musquakee Chief – portrait of Peahmuska (active c.1825). Fox (Meskwaki). Lith. 1838.

Ca-ta-he-cas-sa-Black Hoof Principal Chief of the Shawanoes – Portrait of Catahecassa ‘Black Hoof’ (c.1740–1831). Shawnee. Lith., 1838

Chippeway Squaw & Child – full-length portrait of an Ojibwe woman breastfeeding her child. Title of descriptive text given as ‘An Ojibwa Mother and her Child’. Lith., 1838.

Okee-makee-quid. A Chippeway Chief – full-length portrait of Okeemakeequid (c.1790–c.1841). Ojibwe/Chippewa (Anishinaabewaki). Lith. 1838

Wa-em-boesh-kaa. A Chippeway Chief – portrait of Waembosehkaa (perhaps Wazhashkokon ‘Muskrat’s liver’) (active 1826). Ojibwe/Chippewa (Anishinaabewaki). Lith. 1838.

M’Intosh. A Creek Chief – Portrait of William McIntosh/Tusunnugge Hutke ‘White Warrior’ (1775–1825). Creek (Muskogee). Mixed heritage. Lith. 1838.

Ong pa ton ga. Chief of the Omahas – portrait of Ontopanga ‘Big Elk’ (1765/75–1846/8). Omaha. Lith. 1838.

Ma has kah. Chief of the Ioways – portrait of Mahaska (Maxúshga/Maxúhga) ‘White Cloud’ (1784–1834). Iowa (Baxoje). Lithograph signed ‘AH’ (Alfred Hoffy), 1838.

Rant che wai me. Female Flying Pigeon – portrait of Rantchewaime ‘Female Flying Pigeon’ (d. c.1820s). Iowa (Baxoje). Lithograph signed ‘AH’ (Alfred Hoffy), 1838.

Young Ma Has Kah. Chief of the Ioways – Portrait of Mahaska ‘White Cloud II’ (European name: Francis White Cloud) (d. 1859). Iowa (Baxoje). Lith. 1838.

Ne Sou A Quoit. A Fox Chief – portrait of Nesouaquoit ‘Bear in the Forks of a Tree’ (b. c. 1797). Fox (Meskwaki). Lith., 1838.

Moa-na-hon-ga. Great Walker. An Ioway Chief. – portrait of Moanahonga ‘Big Neck’ or ‘Great Walker’ (d. c.1835). Iowa (Baxoje). Lith. 1838.

Shau-hau-napo-tinia. An Ioway Chief. – portrait of Shaunauhnapotinia ‘Man who Killed Three Sioux’ (b. c.1816). Iowa (Baxoje). Lith. 1838.

Tah-chee. A Cherokee Chief – portrait of Tahchee (Tatsi)/William Dutch (1790–1848). Cherokee (Anigiduwagi). Lith., 1838.

A-na-cam-e-gish-ca. A Chippeway Chief – portrait of Aanakamigishkaang/Enakamigisgkang ‘Foot Prints’ (active 1826). Rainy Lake Ojibwe (Goojijiwininiwag). Lith., 1838.

Wa-bish-kee-pe-nas. The White Pigeon. A Chippewa – portrait of Waabishki-bines ‘White Pigeon/Bird’ (active 1820-6). Ojibwe/Chippewa (Anishinaabewaki). Lith., 1838.

Thusick. An Ojibway Woman – full-length portrait of a woman bearing the name ‘Thusick’. Believed to be Ojibwe. Lithograph signed ‘AH’ (Alfred Hoffy), 1838.

Major Ridge. A Cherokee Chief – portrait of Major Ridge (Nunnehidihi, ‘He who slays the Enemy in the Path’, later Ganundalegi ‘The Man who Walks on the Mountain’s Top’) (c. 1771–1839). Cherokee (Anigiduwagi). Mixed heritage. Lith. 1838.

Lap-pa-win-soe. A Delaware Chief – portrait of Lappawinsoe ‘Gathering Fruit’ (active 1737). Lenape. Lith., 1838.

Tish-co-han. A Delaware Chief – portrait of Tishecunk ‘He never blackens himself’ (active 1737). Lenape. Lith., 1837.

Sha-ha-ka. A Mandan Chief – profile portrait of Sheheke/Sheheke-shote ‘White Coyote’ or ‘Big White’ (1766–1812). Mandan. Lith., 1838.

To-ka-con. A Sioux Chief – portrait of Tok’Acou ‘He that Inflicts the First Wound’ (active 1820s). Yanktonai (Western Dakota). Lithograph signed by ‘AH’ (Alfred Hoffy), 1838.

Mon-ka-ush-ka. A Sioux Chief – portrait of Monkauska ‘Trembling Earth’ (d. 1837). Western Dakota (Yanktonai). Lithograph signed by ‘AH’ (Alfred Hoffy), 1838.