Mckenney charles (48 resultados)

Condición: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Single Issue Magazine. Condición: Very Good. Original issue. Wraps show minor wear, chipping, creasing, and rubbing. Pages are lightly tanned and clean.

Paperback or Softback. Condición: New. Moral Problems in Social Work: Science and Culture Series. Book.

Hardback. Condición: Good. Ex-library with stamps, removal marks, etc. Cover and text clean. Partial contents: Morality; Natural and Postivie law; The Principle of Double Effect. --- We are a Benedictine Monastery / Seminary library; thank you for your support.

Condición: New.

Condición: Good. 1951. No edition remarks. 131 pages. No dust jacket. This is an ex-Library book. Blue cloth covered boards. Ex library copy with associated labels, inserts, stamps and annotations. Pages and binding are presentable with no major defects. Minor issues present such as mild cracking, inscriptions, inserts, light foxing, tanning and thumb marking. Boards have mild shelf wear with light rubbing and corner bumping. Some mild marking and tanning. …

First edition. 1st prtg. Hardcover, original cloth. Ex-seminary library copy. Old paper label on spine, name stamped on title page, otherwise a clean, tight book in very good condition.

Soft cover. Condición: New. Black Line Masters Edition. New 1983 Copyright In Soft Cover Format, Problem Solving In Mathematics Grade 6 Black Line Masters With Teacher's Commentary And Answers, Lane County Mathematics Project With Introduction, Sections I-VIII, Patterns, Systematic Lists, Drawings, Models, Drill And Practice, Frames, Exchanges, Fraction Magic Squares, Fraction Patterns, Decimals, Geometry, Triangles, Quadrilaterals, Pentominoes, Cubes, Decimals, Probability, Challenges, Hexagon Puzzle, Mr. Page's Puzzles, 268 Pages, Pictorial Aqua Cover Featuring Numerals, ISBN 10: 0866511830 (1983 Copyright) BB. Bev And Charles Dana, Cover Illustrators (ilustrador). …

Hardcover. Condición: Very Good. limp blue leather, embossed cover, listing of all graduates. 2 portrait photos - one of Vanuce Farrar, a cancelled check to Theta Delta Chi and a poll road tax receipt 1933. Carl Bodmer, George Catlin, charles Bird king, McKenney & Hall (ilustrador).

Condición: Very Good. This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .…

Condición: binding (fair) pages (good). 1951 131 pages.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good. 1st Edition. First Edition / First Print. Hardback copy in black cloth boards with gold gilt lettering to spine. Unclipped dustjacket in new removable protective clear sleeve. 206pp. B/w photographs. Not library copy, no inscriptions. (77/7).…

Paperback. Condición: Very Good. Quarto, softcover, VG in beige pictorial wraps. 22 pp. Indian tribal series. The M'Kenney-Hall portfolios. Cover of Ma-Has-kah b & w photos throughout of Indian paintings (which were lost in fire at Smithsonian). Articles on Eskimo Country and Osage Peace medal at back. One in Indian Tribal Series. Charles Bird King (ilustrador). Book.…

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. Set of 3 volumes in slipcase. Fine condition in fine dust jackets. The slipcase is in near fine condition as well. A beautiful facsimile reprint of the original set, with color reproductions of the original illustrations, impressively rendered.; 7.25 X 4.5 X 11 inches; 1184 pages. King, Charles Bird (ilustrador).…

Hardcover. Condición: Very Good. No Jacket. These two volumes, in dark blue boards with gilt titling to spines only, being heavy 9-1/4-inch octavos, will ship at close to 7 lbs. combined, and will cost extra to ship "Priority" or outside the U.S. Blindstamped devices of mounted warriors to front boards. 74 color plates found here; the other 49 are in the missing first volume. We have scanned the images of Makataimeshhekiakiah (Black Hawk of the Sauk) and Thayendanegea (Joseph Brant of the Six Nations.) Also present is a three-page article defending the accuracy of the included color portrait of Pocahontas. 458 pp., 355 pp. Reduced from $290. 74 tissue-prrotected color plates, primaily portraits of Indian chiefs and braves by Charles Bird King, "chiefly from the Indian Gallery, formerly in the War Department in Washington," many destroyed in the 1865 Smithsonian fire, & 2 folding color maps (ilustrador).…

Hardcover. Condición: Acceptable. Connecting readers with great books since 1972. Used textbooks may not include companion materials such as access codes, etc. May have condition issues including wear and notes/highlighting. We ship orders daily and Customer Service is our top priority. King, Charles Bird (ilustrador). …

Hardcover. Condición: Brand New. 1140 pages. 8.50x2.31x11.00 inches. In Stock.

Hardcover. Condición: new. New Copy. Customer Service Guaranteed. King, Charles Bird (ilustrador).

Hardcover. Condición: Near Fine. 1st Edition, Limited Edition. McKENNEY, Thomas L. & James HALL (illus. Charles Bird King et al.). History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chiefs. Norwalk, Connecticut: The Easton Press, 2010. 3 vols. Large Octavo. Full tan leather. Spines with raised bands, gilt-decorated. All edges gilt. Silk moiré endpapers. Satin ribbon page markers. 121 colour plates throughout, including portraits after Charles Bird King, Karl Bodmer, and James Otto Lewis. Certificate of Authenticity included. Facsimile of the original Philadelphia edition of 1836-1844. Deluxe limited edition. Limited to 400 numbered sets. Thomas Loraine McKenney (1785-1859) served as Superintendent of Indian Trade from 1816 to 1822 and then as the first Commissioner of Indian Affairs from 1824 until his dismissal by Andrew Jackson in 1830. During those years in Washington he commissioned the painter Charles Bird King to produce portraits of the Native American leaders and delegates who visited the capital — men and women representing the nations of the eastern woodlands, the Great Lakes, the southern territories, and the plains, at a moment when their political futures were being determined by an increasingly hostile federal government. King painted more than a hundred of these portraits from life in his Washington studio. McKenney understood from the beginning that he was creating a record of peoples whose way of life was under existential threat. The word preservation was not available to him as a critical concept, but that is what he was attempting. In 1836 McKenney and the writer James Hall began publishing the portraits as the History of the Indian Tribes of North America, with Hall contributing biographical sketches of each subject alongside McKenney's historical account. The work appeared in three volumes in Philadelphia between 1836 and 1844, illustrated with 120 hand-coloured lithographic plates produced by J. T. Bowen from King's originals. It was, as the bookseller Reese has described it, "the grandest colour-plate book issued in the United States up to the time of its publication." When the Smithsonian Institution fire of 1865 destroyed nearly all of King's original paintings, the lithographs became the primary surviving visual record of the people depicted. The faces in this book are, in many cases, the only portraits that exist of individuals who were themselves among the last to know their nations intact. All but four of the book's original paintings were destroyed in the disastrous Smithsonian fire of 1865; their appearance in this work preserves what is probably the best likeness of dozens of prominent nineteenth-century Native Americans. The Easton Press Deluxe Limited Edition of 2010, produced in a strictly limited run of 400 numbered sets with 121 colour plates, is the most finely produced modern edition of this landmark work in American cultural history. Near fine. Some minor loss to cover gilt, some mild foxing along edges. Otherwise, fine throughout. Plates glossy and bright. Please note: This item is a multi-volume set and may require additional postage costs. If so, we will contact you after purchase. Charles Bird King et al. (ilustrador). …

LeatherBound. Condición: NEW. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 170. A perfect gift for your loved ones. Reprinted from 1951 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 170.…

Complete three volume set. Hardcovers, H 24cm x L 18cm. No dust jackets (i.e. all lacking). Blue cloth bindings rubbed with some scuffing and stains; board corners bumped/worn; tears and wear at spine ends; spines' gilt lettering still vibrant. Gilt top edges; deckle fore-edges and bottom edges; some leaves still uncut at their fore-edges. Foxing/toning strongest to initial and rear leaves; occasional foxing and soiling to interior leaves. All plates individually collated and verified as present and all retain their captioned guard sheets. Set now presented in trimmed clear Dura-Lar (polyester film) sheets forming djs and modestly enhancing exterior appearance and aiding the bindings. *** VOLUME I (1933): i-lxii, [2], 1-442, [1] pages; 48 color plates; two b/w photogravure plates of authors with tissue guards; seven-line ink gift inscription dated 1941 on half-title page; toning mostly at gutter margins of pages xxxvi-xxxvii caused by a now removed bookmark; binding is firm; Introduction by Frederick Webb Hodge. *** VOLUME II (1934): i-viii, 1-458, [1] pages; 50 color plates; a few stress points but binding remains fairly firm. *** VOLUME III (1934): i-xvi, 1-355, [1] pages; 24 color plates; at rear are two foldout color maps (Indian Reservation map torn at bottom folds affecting image but with no significant loss); Introduction by Hermann Justus Braunholtz; binding shaken between ffep verso and half-title with other lesser stress points but all holding. *** Please note that this set has an approximate shipping weight of 10.75 pounds (4.87 kg) and will require additional postage for any postal class other than domestic Media Mail. …

Condición: Good. 3 volumes, 8vo , 16.4 x 25.9cm. Very good. Hand-colored lithographic dedication and 120 hand-colored lithographic plates , some heightened with gum arabic; Contemporary publisher's red gilt morocco, ruled in blind, all edges gilt. FIRST OCTAVO EDITION, after the folio edition of 1837-1844. ."Both authors saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures amongst the Indian nations, followed by a general history of the North American Indians. The work is now famous for its color plate portraits of the chiefs, warriors and squaws of the various tribes, faithful copies of original oils by Charles Bird King painted from life in his studio in Washington (McKenney commissioned him to record the visiting Indian delegates) or worked up by King from the watercolors of the young frontier artist, James Otto Lewis. All but four of the original paintings were destroyed in the disastrous Smithsonian fire of 1865, so their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th century. -- ReeseThomas McKenney assembled portraits of Native Americans by taking visiting Native American dignitaries to the studio of Charles Bird King in Washington, who would paint their portraits in oil. These formed part of a portrait gallery at the Smithsonian, which were all destroyed in the 1865 Smithsonian fire. McKenney endeavored to recreate the portraits in lithographs, resulting in the work's "long and checkered publication history [which] spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers. " (Reese, Stamped With A National Character 24). Howes M-129; Field 992; Sabin 43411 (1850 edition).OCLC Number / Unique Identifier:878688064.Signatures: Volume 1: pi? [1]-42? chi . Volume 2: pi? [1]-36? 37 chi . Volume 3: pi? 3-49? chi First edition published 1836-1844"An essay on the history of North American Indians. By James Hall": volume 3, pages 149-387Spine title: Indian Tribes of North America.Provenance: The Brooklyn Library Association of the Eastern District, with stamp on title pages.Prior to the establishment of the Brooklyn Public Library by an Act of Legislature of the State of New York in 1892, Brooklyn was served by a number of independently operated libraries that were open to the public, but which in many cases required a membership fee to use. In 1857, the Mercantile Library Association of the City of Brooklyn was established, and the Mercantile Library of Brooklyn subsequently opened in a building shared by the Brooklyn Athanaeum and Reading Room. In 1865, the Brooklyn Library Association of the Eastern District was established for the purpose of establishing a library in Brooklyn's Eastern District, and in 1868, the Law Library in Brooklyn was established.…

Folio; 3 vols. (20 1/16 x 14 1/4 inches). 120 hand-colored lithograph plates, map, and 17-page subscriber list present. State "A" of volumes one and three, state "B" (issued with part 16) of volume two. 19th-century half-Morocco to style over marbled boards, spines gilt. Within individual chemises and slipcases. First edition of this Americana highspot, a profusely illustrated record of prominent nineteenth-century Native Americans, which was "the grandest color-plate book issued in the United States up to the time of its publication." (Reese) Thomas McKenney, a Quaker, was Superintendent of Indian Affairs from 1816-1822. While in this post he became concerned for the survival of Western tribes after observing unscrupulous people taking advantage of Native Americans for profit. McKenney decided to create an archive to preserve the artifacts and history of Native Americans whose culture was disappearing due to settler-colonialism. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to his archive. McKenney helped start the first national collection in Washington, the Archives of the American Indian, and served as curator of this archive while he was Superintendent of Indian Affairs and head of the Bureau of Indian Affairs. Perhaps surprisingly, in his government role, McKenney advocated for Indians to be removed to somewhere west of the Mississippi and the portraits he commissioned make reference to the benefits of missionary and "civilizing" work. He was instrumental in the passage of the 1830 Indian Removal Act, but also criticized some government policies toward Indians, which led President Jackson to dismiss McKenney from his post in 1830. After leaving government, McKenney was able to turn more of his attention to his publishing project recording biographies and portraits of Native Americans. Within a few years, he was joined by James Hall, a journalist, lawyer, and the Illinois state treasurer, who had written extensively about the West. Both authors saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures among the Indian nations, followed by a general history of the North American Indians. The work is famous for its color-plate portraits of chiefs, warriors, and women of various tribes, which are faithful copies of original oils by Charles Bird King. King painted the illustrious Indians from life in his studio in Washington, D.C., where McKenney commissioned him to record visiting Indian delegations from 1821 to 1837. At times King's paintings were worked up from the watercolors of the young frontier artist, James Otto Lewis. All but four of the book's original paintings were destroyed in the disastrous Smithsonian fire of 1865; their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th-century. Among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to that date, and its publishing history is complex. Its production spanned eight years, multiple lithographers, and was funded by 1,250 subscribers. The title pages give an indication of issue: Volume I, first issue was by Edward C. Biddle and is dated 1836; the second issue was by Frederick W. Greenough with the date 1838; and the third issue is by Daniel Rice and James G. Clark and dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838; and the second issue is by Rice and Clark and dated 1842. Volume III, first issue is by Daniel Rice and James G. Clark and dated 1844. American Color Plate Books, 24; BAL 6934; Bennett, 79; Best of the West, 68; Bowers, 339-40; Field 992; Howes M-129 ("d"); Lipperhiede Mc4; Sabin 43410a; Servies 2150; Stack, 5.…

Condición: Fine in very good jackets. dj. Important edition of the monumental visual record of Native American leaders, including an extensive account of the original 1836-44 folio edition, biography of the original authors, and the infamous Smithsonian fire - all new to this edition. Thomas L. McKenney, a Quaker, served as the US Government's Superintendent of Indian Affairs from 1824 to 1830. During this period he worked with the renowned American artist Charles Bird King, commissioning the artist to paint portraits of Native leaders who were visiting the government in DC. The fame of the paintings soon spread, and McKenney conceived of a massive printing project to record them in book form. At the same time, incoming president Andrew Jackson fired McKenney, after McKenney fundamentally rejected Jackson's stance on the US's relationship with Indigenous nations. Suddenly jobless, McKenney threw himself into the project, mounting one of the most ambitious book projects ever seen in the United States up to that time: three elephant folio volumes containing 120 hand-colored plates. Already a significant record of leaders and their nations, the books took on supreme importance as a cultural document after a fire at the Smithsonian engulfed the majority of Charles Bird King's original paintings. This edition made the production accessible in the 20th century beyond the increasing rarity of the 19th-century folio and octavo editions. Its introduction by Hodge captures the growing legend of the story behind the production, detailing the delays and obstacles that threatened more than once to end the project. A noteworthy edition, mythologizing and making accessible the story of a critical record of Indigenous nations in the pre-Jacksonian era. 3 thick octavo volumes, 9.25'' x 6.75'' each. Original blue pictorial cloth stamped in blind, gilt-lettered spines. In original typographic dust jackets (no price on flaps). Top edges gilt, other edges uncut, some leaves unopened. Illustrated with two photogravure portraits (of McKenney and Hall), 123 full-page color plates after King's paintings with captions tissue guards, and 2 color folding maps. Volume I with historical introduction by Frederick Webb Hodge. lxiv, 442, [2]; viii, 458, [2]; xvi, 355 pages. Jackets with a bit of creasing, some soiling. Cloth and interior fresh and bright. …

Paper. Condición: Collectible-Very Good. First Edition. Folio (18 3/4 inches by 14 1/4 inches) lithograph from the first folio edition. The print is in excellent condition, with vivid hand-coloring and none of the foxing frequently seen. There is a dime-sized stain in the bottom margin--well away from the image; there is a very narrow line of glue residue along the binding edge--again well away from the image. In 1825 Mahaskah's father (also named Mahaskah) had traveled to Washington, where he negotiated a treaty and had his portrait painted by Charles Bird king. In 1837 "Young" Mahaskah made the same trip because the United States had not lived up to the terms of the treaty. He too had his portrait painted by King, and apparently he was wearing the same bear claw necklace that his father had worn. Size: Elephant Folio - over 15" - 23" tall. Charles Bird King (ilustrador). Fine Art Print.…

Paper. Condición: Collectible-Very Good. Third Edition. Folio (18 3/8 inches by 14 1/2 inches) print from the third and final folio edition. The print is in excellent condition, with vivid coloring and none of the foxing frequently seen (see the Smithsonian's copy, for example). There are some smudges in the margins--well away from the image; there is one very small chip out of the bottom right corner in the margin and one 1/2" closed tear on the bottom edge. It is appropriate that McKenney and Hall identified this leader as "The Orator"because the Winnebago called themselves "Hochungra," which translates as "People of the Big Voice." Oratory was highly valued by tribe members, and it was natural that they would send their best orator to speak for them in negotiations in Washington. Size: Elephant Folio - over 15" - 23" tall. Charles Bird King (ilustrador). Fine Art Print.…

Single Sheet. Condición: Very Good. Original. Original hand-colored lithograph by J. T. Bowen after the painting by Charles Bird King. Octavo (image size approximately 6" by 9") print from the 1855 octavo edition. The print is in very good condition, with vivid coloring and some relatively minor soiling of the off-white background. The print has been archivally matted and is ready for a standard 16" by 20" frame. To-Ka-Con (McKenney said that the name means "He that inflicts the first wound") was a Yankton Sioux Chief in what is now South Dakota. He was both a tribal policeman and a chief who signed several treaties on behalf of his tribe. Thomas L. McKenney, who from 1816 until 1830 headed what was to become the United States Bureau of Indian Affairs, commissioned Charles Bird King to paint portraits of Native American delegates visiting Washington, D.C. He also had King paint copies of other portraits that had been painted by James Otto Lewis. The result was a gallery of portraits of both great chiefs and lesser personages that was intended to serve as an important part of the historic record of the era. After leaving government service, McKenney arranged to have the portraits copied by Harold Inman for the purpose of creating a series of hand-colored lithographs. In collaboration with James Hall, McKenney produced the monumental History of the Indian Tribes of North America, that included 120 hand-colored lithographs after the paintings of King and Lewis as well as an historical essay by Hall and biographical material on most of the Native Americans pictured. Portions of the folio edition were published by various publishers during the period 1837-1844 and were followed by several octavo editions. Although hailed as an artistic success and an important contribution to Native American ethnology, the high production cost of the lithographs and relatively low sales (during an economic recession) combined to make the venture unprofitable. The less expensive octavo editions were a financially unsuccessful attempt to salvage the situation but still an artistic success. In 1865 a fire at the Smithsonian Institute destroyed most of the original paintings; so the only original pictorial records remaining are the hand-colored lithographs published for McKenney and Hall. They are considered to be one of the high points of 19th century Americana. Size: 8vo - over 7¾" - 9¾" tall. Charles Bird King (ilustrador). Fine Art Print.…

Condición: Fine. First Edition. Hand-colored folio lithograph from McKenney & Hall's History of the Indian Tribes of North America. Approximately 15.25 x 19.25 inches (38.5 x 49 cm) matted to 16 x 20 inches (41 x 51cm) with a window of 10 x 15 inches (25.5 x 38 cm). Printed by I.T. Bowen. See image for condition. Text ghosting to rear.…

Single Sheet. Condición: Near Fine. Original. Original hand-colored lithograph by J. T. Bowen after the painting by Charles Bird King. From the final octavo edition, published 1865-1870. The image size is approximately 6" by 9 3/4" on a heavy sheet of paper measuring 11" by 7 3/8". The print is in near fine condition: clean and bright with vivid coloring. Toko-see-mathla was a prominent Seminole chief between the first and second Seminole Wars. He was called John Hicks by white settlers, He moved his people to the area (called Hicksville!) that is now Madison County, Florida after Andrew Jackson forced them out of the Tallahassee area. Thomas L. McKenney, who from 1816 until 1830 headed what was to become the United States Bureau of Indian Affairs, commissioned Charles Bird King to paint portraits of Native American delegates visiting Washington, D.C. He also had King paint copies of other portraits that had been painted by James Otto Lewis. The result was a gallery of portraits of both great chiefs and lesser personages that was intended to serve as an important part of the historic record of the era. After leaving government service, McKenney arranged to have the portraits copied by Harold Inman for the purpose of creating a series of hand-colored lithographs. In collaboration with James Hall, McKenney produced the monumental History of the Indian Tribes of North America, that included 120 hand-colored lithographs after the paintings of King and Lewis as well as an historical essay by Hall and biographical material on most of the Native Americans pictured. Portions of the folio edition were published by various publishers during the period 1837-1844 and were followed by several octavo editions. Although hailed as an artistic success and an important contribution to Native American ethnology, the high production cost of the lithographs and relatively low sales (during an economic recession) combined to make the venture unprofitable. The less expensive octavo editions were a financially unsuccessful attempt to salvage the situation but still an artistic success. In 1865 a fire at the Smithsonian Institute destroyed most of the original paintings; so the only original pictorial records remaining are the hand-colored lithographs published for McKenney and Hall. They are considered to be one of the high points of 19th century Americana. Size: 8vo - over 7¾" - 9¾" tall. Charles Bird King (ilustrador). Fine Art Print.…

Original handcolored lithograph 20 1/2 x 14 5/8 inches [52.07 x 37.18 cm], tissue quard attached and accompanied with the 2 pp. text. Lower left blank corner is creased with a short closed tear, not affecting the image. A near fine example. The lithographic print was made by Lehman & Duval after a painting by Charles Bird King. Beneath the title is printed "Entered according to act of Congress in the year 1836 by E. C. Biddle, in the Clerks Office of the District Court of the Eastern District of Pa." It was issued as a plate in the three folio volume work by Thomas L. McKenney and James Hall, HISTORY OF THE INDIAN TRIBES OF NORTH AMERICA.…