McKENNEY, Thomas L. (1785-1859) and James HALL (1793-1868). History of the Indian Tribes of North America. Philadelphia: [Edward C. Biddle, 1836]; Frederick W. Greenough, 1838; Daniel Rice and James G. Clark, 1844.
3 volumes, large folio (495 x 349 mm). 108 (of 120) hand-colored lithographed plates, map sheet, 17-page lithographed subscriber’s list at end of vol. III ( “War Dance” heavily soiled with some stains and closed tear repairs near gutter verso, “Hunting of the Buffalo” with juvenile pencil scribbling to image, general marginal soiling, offsetting from text to plates).
Vol. I lacks the following: copyright notice facing title, title-page, 3 plates (“Hayne Hudjihini”, “Chippeway Squaw and Child” (including the 1-page text leaf), “Petelasharro”; Vol. II lacks the following: preliminary copyright notice, 3 plates (Asseola, Tshizunhaukau and Kanapima). Vol. III lacks the following: contents leaf, 44pp. and 6 plates (text begins on p. 45). Later light brown buckram, black calf lettering-pieces gilt (spines darkened, soling and sunning to extremities, vol. I starting with cracking to front joint and near middle, some leaves repaired or reinforced, some dampstaining or browning, moreso near the beginnings, some heavily repaired or soiled, light marginal soiling throughout).
FIRST EDITION OF “THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION” (Stamped with a National Character). A first printing with the explanation ([iii]-iv) of the “War Dance of the Sauks and Foxes” (BAL state B) authored by Caleb Atwater. “After publication it was discovered that this text was erroneous and buyers were directed (in part 8) to destroy it and to substitute another version, presumably by Hall, which was issued with Part 8” (BAL). The plate of “Red Jacket” is in BAL state D. Title-pages are in BAL’s state A (aside from the one missing in vol. I). “It’s long and checkered publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most distinctive and important books in Americana. Almost all the plates are portraits of individual Native Americans, the majority painted from life by Charles Bird King (who also reworked the less skillful portraits of James Otto Lewis)” (Reese). BAL 6934; Bennett, p. 79; Best of the West 68; Bobins 58; Howes M-129; Stamped with a National Character 24.