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239 photos
Mah-to-toh-pa, The Mandan Chief. From "North American Indian Portfolio" by George Catlin Hand-colored lithographs; London; 1844-48. George Catlin was the first artist to observe the tribes of the Plains Indians and to illustrate their habits and customs from first-hand observation. His belief in the "noble savage", unspoiled by contact with the outside world, sustained him as he crossed and re-crossed the country - from the Mississippi to the Rockies - gathering raw material for his Indian Gallery.
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Mah-to-toh-pa, The Mandan Chief. From "North American Indian Portfolio" by Geor...

Joc-o-sot (The Walking Bear), a Sauk Chief from the Upper Missouri. From "North American Indian Portfolio" by George Catlin. Hand-colored lithographs; London; 1844-48. George Catlin was the first artist to observe the tribes of the Plains Indians and to illustrate their habits and customs from first-hand observation. His belief in the "noble savage", unspoiled by contact with the outside world, sustained him as he crossed and re-crossed the country - from the Mississippi to the Rockies - gathering raw material for his Indian Gallery.
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Joc-o-sot (The Walking Bear), a Sauk Chief from the Upper Missouri. From "North...

Wi-Jun-Jon (The Light) (Assiniboin) going to and returning from Washington. From "North American Indian Portfolio" by George Catlin. Hand-colored lithographs; London; 1844-48. George Catlin was the first artist to observe the tribes of the Plains Indians and to illustrate their habits and customs from first-hand observation. His belief in the "noble savage", unspoiled by contact with the outside world, sustained him as he crossed and re-crossed the country - from the Mississippi to the Rockies - gathering raw material for his Indian Gallery.
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Wi-Jun-Jon (The Light) (Assiniboin) going to and returning from Washington. From...

Indian Blackfoot shaman with tambourine and spear. From Illustrations of the North American Indians by George Catlin. Lithograph; 1876. George Catlin was the first artist to observe the tribes of the Plains Indians and to illustrate their habits and customs from first-hand observation. His belief in the "noble savage", unspoiled by contact with the outside world, sustained him as he crossed and re-crossed the country - from the Mississippi to the Rockies - gathering raw material for his Indian Gallery.
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Indian Blackfoot shaman with tambourine and spear. From Illustrations of the Nor...

Indian Blackfoot chief with pipe. From Illustrations of the North American Indians by George Catlin. Lithograph; 1876. George Catlin was the first artist to observe the tribes of the Plains Indians and to illustrate their habits and customs from first-hand observation. His belief in the "noble savage", unspoiled by contact with the outside world, sustained him as he crossed and re-crossed the country - from the Mississippi to the Rockies - gathering raw material for his Indian Gallery.
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Indian Blackfoot chief with pipe. From Illustrations of the North American India...

Custer's last charge. Lithograph; 19th century. The Battle of the Little Bighorn was an armed engagement between a Lakota-Northern Cheyenne combined force and the 7th Cavalry of the United States Army. It occurred June 25–June 26, 1876, near the Little Bighorn River in the eastern Montana Territory. The battle was the most famous incident in the Indian Wars and was a remarkable victory for the Lakota and Northern Cheyenne. A U.S. cavalry detachment commanded by Lt. Col. George Armstrong Custer was killed to the last man.
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Custer's last charge. Lithograph; 19th century. The Battle of the Little Bighor...

The landing of Hernando Cortes in Mesico in 1519. Cortes has just landed and steps onto dry land. The natives greet him, with one of them kneeling before him. A miniature in colours within a foliated bordeer on two sides. A portrait of Cortes in a medallion.From an account of the Spanish invasion of Mexico. ID: Add.37177
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The landing of Hernando Cortes in Mesico in 1519. Cortes has just landed and ste...

Pottery torso of a female from Western Mexico, 300 BCE- 300 CE. Ameca-style figurine representing the torso of a woman wearing a headdress, earplugs and a necklace. Her breasts are covered with a pattern in black pigment, indicating a tattoo or body paint. From Jalisko, Western Mexico. Ethno, Hn 121
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Pottery torso of a female from Western Mexico, 300 BCE- 300 CE. Ameca-style fig...

Vase with faces, Nasca culture, Peru, 200 BCE - 600 CE. The representation of human heads is quite common in Nasca art. Some of them represent trophy heads, with eyes and mouth stitched shut with thorns or other implements.In this vessel, two bands of simple geometric motifs are painted in red and frame a band of human faces wrapped around the middle part of the vase. Ethno, 1941.Am4.34
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Vase with faces, Nasca culture, Peru, 200 BCE - 600 CE. The representation of h...

Double spout and bridge vessel with hummingbirds, Nasca culture, Peru, 200 BCE-600 CE. Decorated with several hummingbirds flying around two flowers at the base of the spouts. Hummingbirds were considered intermediaries or manifestations of the mountain gods. After painting, slip was applied and the vessel fired and burnished to a characteristic glossy finish. Ethno 1913.10-29.1
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Double spout and bridge vessel with hummingbirds, Nasca culture, Peru, 200 BCE-6...

Spout and bridge vessel in the shape of a dog, Nasca culture, Peru, 200 BCE - 600 CE. Vessels modelled into animals or edible plants are a common form of Nasca art. Vessels were painted (in this case in three colours),slip was applied and the vessel was fired and burnished to a characteristic glossy finish. Ethno, 1938-19
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Spout and bridge vessel in the shape of a dog, Nasca culture, Peru, 200 BCE - 60...

Lintel 24, one of three panels from structure 23 at Yaxchilan, Mexico. It represents a bloodletting ritual performed by the king of Yaxchilan, Shield Jaguar II, and his wife, Lady K'ab'al Xook. The Maya king holds a flaming torch over his wife, who is pulling a thorny rope through her tongue. The glyphs in the text at the top indicate the event and the date, 709 CE.
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Lintel 24, one of three panels from structure 23 at Yaxchilan, Mexico. It repre...