HOME
SEARCH
GALLERY
SVENSKA
ARTIST
FAQ
CONTACT
EMAIL

Oil Paintings Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists.

George Catlin
1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin??s base of operations for five trips he took between 1830 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings ??salon style????side by side and one above another??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection. This second collection of paintings is known as the "Cartoon Collection" since the works are based on the outlines he drew of the works from the 1830s. In 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian ??Castle.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.

 

 1 2    Next
 

 

 

George Catlin Buffalo Bull-s Back Fat Oberhauptling des Blutstammes oil painting

Painting ID::  45356

X 
 

George Catlin
Buffalo Bull-s Back Fat Oberhauptling des Blutstammes
mk181 1832 Ol auf Leinwand,auf Aluminium aufgezogen 73.7x60.9cm
   
   
     

 

 

George Catlin Pigeon-s Egg Head auf dem  Weg nach Washington und bei Seiner Ruckkehr oil painting

Painting ID::  45358

X 
 

George Catlin
Pigeon-s Egg Head auf dem Weg nach Washington und bei Seiner Ruckkehr
mk181 1837-39 Ol auf Leinwand,auf Aluminium aufgezogen 73.6x60.9cm
   
   
     

 

 

George Catlin Indian Boy oil painting

Painting ID::  3194

X 
 

George Catlin
Indian Boy

   
   
     

 

 

George Catlin Buffalo Bull : A Grand Pawnee Warrior oil painting

Painting ID::  3195

X 
 

George Catlin
Buffalo Bull : A Grand Pawnee Warrior
1832 National Museum of American Art, Washington D.C.
   
   
     

 

 

George Catlin Ambush for Flamingoes oil painting

Painting ID::  3196

X 
 

George Catlin
Ambush for Flamingoes
c1857 Carnegie Museum of Art, Pittsburgh, PA
   
   
     

 

 

George Catlin Buffalo Bulls Fighting in Running Season-Upper Missouri oil painting

Painting ID::  3197

X 
 

George Catlin
Buffalo Bulls Fighting in Running Season-Upper Missouri
1837-39 National Museum of American Art, Washington D.C.
   
   
     

 

 

George Catlin The Dakota Chief : One Horn oil painting

Painting ID::  3198

X 
 

George Catlin
The Dakota Chief : One Horn
1832
   
   
     

 

 

George Catlin War Dance oil painting

Painting ID::  3199

X 
 

George Catlin
War Dance

   
   
     

 

 

George Catlin Comanche Indians Chasing Buffalo with Lances and Bows oil painting

Painting ID::  27966

X 
 

George Catlin
Comanche Indians Chasing Buffalo with Lances and Bows
1846-8 oil on canvas 49.8 x 70.1 cm (19 5/8 x 27 5/8 in) National Museum of American Art,Washington DC (mk63)
   
   
     

 

 

George Catlin Niagara Falls oil painting

Painting ID::  30684

X 
 

George Catlin
Niagara Falls
mk68 Oil on canvas Washington, Smithsonian Americn Art Museum 1827-1828 USA
   
   
     

 

 

George Catlin Comanche Indians Chasing Buffalo with Lances and Bows oil painting

Painting ID::  30696

X 
 

George Catlin
Comanche Indians Chasing Buffalo with Lances and Bows
mk68 Oil on canvas Washington, Smithsonian American Art Museum 1846-1848
   
   
     

 

 

George Catlin Buffalo Chase on the Upper Missouri oil painting

Painting ID::  31885

X 
 

George Catlin
Buffalo Chase on the Upper Missouri
mk77 Oil on canvas 25 3/4x32in
   
   
     

 

 

George Catlin Stu-mick-o-sucks,Buffalo Bull-s Back Fat,Head Chief,Blood Tribe oil painting

Painting ID::  38340

X 
 

George Catlin
Stu-mick-o-sucks,Buffalo Bull-s Back Fat,Head Chief,Blood Tribe
mk136 Oil on canvas 1832
   
   
     

 

 

George Catlin Sha-ko-ka,Mint,a Pretty Girl oil painting

Painting ID::  38341

X 
 

George Catlin
Sha-ko-ka,Mint,a Pretty Girl
mk136 Oil on canvas 1832
   
   
     

 

 

George Catlin Buffalo Chase with Bows and Lances oil painting

Painting ID::  38342

X 
 

George Catlin
Buffalo Chase with Bows and Lances
mk136 Oil on canvas 1832-33
   
   
     

 

 

George Catlin Minnetarree Village Seen Miles above the Mandans on the Bank of the Knife River oil painting

Painting ID::  41432

X 
 

George Catlin
Minnetarree Village Seen Miles above the Mandans on the Bank of the Knife River
mk162 c.1855-1870 Oil on paper 17x24
   
   
     

 

 

George Catlin Primitive Sailing by the Winnebago indians oil painting

Painting ID::  41433

X 
 

George Catlin
Primitive Sailing by the Winnebago indians
mk162 upper Mississippi c.1855-1870 Oil on paper 18x24
   
   
     

 

 

George Catlin Rainmaking,Mandan oil painting

Painting ID::  41434

X 
 

George Catlin
Rainmaking,Mandan
mk162 c.1855-1870 Oil on paper 18x24
   
   
     

 

 

George Catlin Wild Horses at Play oil painting

Painting ID::  41435

X 
 

George Catlin
Wild Horses at Play
mk162 c.1855-1870 Oil on paper 18x25
   
   
     

 

 

George Catlin Crow Chief oil painting

Painting ID::  41436

X 
 

George Catlin
Crow Chief
mk162 c.1850 oil o nboard 15x21
   
   
     

 

  1  2     Next

 

George Catlin
1796-1872 George Catlin Galleries Catlin was born in Wilkes-Barre, Pennsylvania. Following a brief career as a lawyer, he produced two major collections of paintings of American Indians and published a series of books chronicling his travels among the native peoples of North, Central and South America. Claiming his interest in America??s 'vanishing race' was sparked by a visiting American Indian delegation in Philadelphia, he set out to record the appearance and customs of America??s native people. Catlin began his journey in 1830 when he accompanied General William Clark on a diplomatic mission up the Mississippi River into Native American territory. St. Louis became Catlin??s base of operations for five trips he took between 1830 and 1836, eventually visiting fifty tribes. Two years later he ascended the Missouri River over 3000 km to Ft Union, where he spent several weeks among indigenous people still relatively untouched by European civilization. He visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There, at the edge of the frontier, he produced the most vivid and penetrating portraits of his career. Later trips along the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in over 500 paintings and a substantial collection of artifacts. When Catlin returned east in 1838, he assembled these paintings and numerous artifacts into his Indian Gallery and began delivering public lectures which drew on his personal recollections of life among the American Indians. Catlin traveled with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He hung his paintings ??salon style????side by side and one above another??to great effect. Visitors identified each painting by the number on the frame as listed in Catlin??s catalogue. Soon afterwards he began a lifelong effort to sell his collection to the U.S. government. The touring Indian Gallery did not attract the paying public Catlin needed to stay financially sound, and Congress rejected his initial petition to purchase the works, so in 1839 Catlin took his collection across the Atlantic for a tour of European capitals. Catlin the showman and entrepreneur initially attracted crowds to his Indian Gallery in London, Brussels, and Paris. The French critic Charles Baudelaire remarked on Catlin??s paintings, ??M. Catlin has captured the proud, free character and noble expression of these splendid fellows in a masterly way.?? Catlin??s dream was to sell his Indian Gallery to the U.S. government so that his life??s work would be preserved intact. His continued attempts to persuade various officials in Washington, D.C. failed. He was forced to sell the original Indian Gallery, now 607 paintings, due to personal debts in 1852. Industrialist Joseph Harrison took possession of the paintings and artifacts, which he stored in a factory in Philadelphia, as security. Catlin spent the last 20 years of his life trying to re-create his collection. This second collection of paintings is known as the "Cartoon Collection" since the works are based on the outlines he drew of the works from the 1830s. In 1841 Catlin published Manners, Customs, and Condition of the North American Indians, in two volumes, with about 300 engravings. Three years later he published 25 plates, entitled Catlin??s North American Indian Portfolio, and, in 1848, Eight Years?? Travels and Residence in Europe. From 1852 to 1857 he traveled through South and Central America and later returned for further exploration in the Far West. The record of these later years is contained in Last Rambles amongst the Indians of the Rocky Mountains and the Andes (1868) and My Life among the Indians (ed. by N. G. Humphreys, 1909). In 1872, Catlin traveled to Washington, D.C. at the invitation of Joseph Henry, the first secretary of the Smithsonian. Until his death later that year in Jersey City, New Jersey, Catlin worked in a studio in the Smithsonian ??Castle.?? Harrison??s widow donated the original Indian Gallery??more than 500 works??to the Smithsonian in 1879. The nearly complete surviving set of Catlin??s first Indian Gallery painted in the 1830s is now part of the Smithsonian American Art Museum's collection. Some 700 sketches are in the American Museum of Natural History, New York City. The accuracy of some of Catlin's observations has been questioned. He claimed to be the first white man to see the Minnesota pipestone quarries, and pipestone was named catlinite. Catlin exaggerated various features of the site, and his boastful account of his visit aroused his critics, who disputed his claim of being the first white man to investigate the quarry. Previous recorded white visitors include the Groselliers and Radisson, Father Louis Hennepin, Baron LaHonton and others. Lewis and Clark noted the pipestone quarry in their journals in 1805. Fur trader Philander Prescott had written another account of the area in 1831.