Portrait of RED BIRD - James Otto Lewis, 1827

[Cliff Krainik]

Red Bird - Ho-Chunk (Winnebago)

Original - painting by James Otto Lewis, at the Portage, 1827, portrait later copied by Charles Bird King.

Hand colored stone lithograph, circa 1850
Black Hawk War Collection - Cliff & Michele Krainik


"In 1844 the final volume of Thomas McKenney's landmark History of the Indian Tribes of North America was published, completing a vast work whose genesis can be traced twenty-three years earlier to the winter of 1821. At that time, as Superintendent of Indian Affairs for the War Department, Thomas McKenney commissioned artist Charles Bird King (1785-1862) to paint the portraits of a delegation of Native American leaders in Washington, DC. The paintings captured the likeness of the leaders and provided a visual record of their tribes, many of which did not survive into the photographic era. The portraits, eventually over a hundred in number, lead to the establishment of the War Department's Indian Gallery. They were later moved to the Smithsonian Institute.

Thomas McKenney (1785-1859) was an early advocate for Native Americans and the survival of their cultures. Between 1816 and 1830 he held numerous government posts pertaining to Native American relations, eventually to be appointed the first head of the United States Bureau of Indian Affairs. Throughout his career McKenney acted on his concern that the world of the Native Americans would vanish without being documented. In 1835 he began work on the History of the Indian Tribes of North America the most extensive chronicle of the continents original inhabitants written to date.

The ambitious work was to feature a series of hand colored lithographs in folio, based upon the paintings he had commissioned by Charles Bird King and to a lesser extent, works by P. Rhindesbacher, R. M. Sully and James Otto Lewis. Each portrait would be accompanied with a biography of the subject written by McKenney, many based on personal interviews granted to him by such notables as Sequoyah, Makataineshekiakiah (Black Hawk), Thayendanegea (or Brant), Osceola and Red Jacket. In addition to the biographies, a large essay on the history of Native Americans by James Hall (1793-1768) was included.

It would take nine years and a huge financial outlay for the folio to be printed in its entirety. Volume I was completed in 1836 and published by the firm of Edward C. Biddle. Volume II followed in 1842 as well as a reissue of Vol. I, published by Frederick W. Greenough, the successor firm of Edward C. Biddle. The firm of D. Rice and A. N. Clark, printed the final volume in 1844, as well as new issues of the first two volumes.

The books' large size and expense led Rice and Clark to reissue the work changing its format to 'royal' octavo in 1848, to '…place it within reach of the thousands, who, with taste and learning equal to those of the patrons of the large edition, have no less capacity to appreciate its worth and beauties.' Rice and Clark 'confidently refer it to the public to decide, whether the most perfect fidelity is not observed in every department of the work — as well in the lifelike expression of the portraits and their coloring, as in the typography and the paper.'

The new edition also included material added by McKenney and one additional portrait, that of Red Bird (Zitkaduta) of the Winnebago tribe. The portrait illustrates an event that McKenney had direct involvement in, the surrender of Chief Red Bird after an attack on Praire du Chien in 1827. McKenney and Michigan Governor Lewis Cass negotiated the surrender, which prevented the outbreak of a larger war by promising not to place Red Bird and his party in irons. Red Bird is portrayed arriving at the surrender, having chanted his death song earlier. 'I have given my life, it is gone...' (blowing some dust between his finger and thumb) '...like this. I would not have it back. It is gone.' Red Bird and his men were sentenced to hang for the attack but intercession by McKenney and Cass led to their pardon by President Adams. Red Bird however, had died in prison before the pardon was granted.

Volume one of the octavo edition was completed in 1848 followed by volume two in 1849 and volume three in 1850. A second octavo was printed in 1854 followed by the third in 1855 and the forth in 1858. Printing would continue to 1870 although some later issues were abridged to contain as few as fifty of the original one hundred twenty plates.

In 1865 a disastrous fire struck the Smithsonian Institute, destroying most of the paintings from which the lithographs were drawn. It is in the History of the Indian Tribes of North America that Thomas McKenney's extensive portfolio, perhaps the most important pre-photographic record of vanished Native America survived."

Text by Powell's Rare Books, Beaverton, Oregon

Cliff Krainik

[Larry Koschkee]

Cliff, this is one of my favorite North American Indian pictures because, first all the Winnebago uprising took place in my back yard so to speak and secondly, the picture represents some of the pageantry that took place on September 4, 1827 and third there is narrative of the surrender that corroborates Lewis' painting.

"A picture is worth a thousand words." I will paint a picture at "The Portage" here that is less than that.

While Major Whistler was awaiting the arrival of the other troops at the portage, he received a mysterious call. An Indian came unceremoniously to his tent and informed the officer that about 3 o'clock on the afternoon of the next day "they will come in." In reply to the question "Who will come in?" he answered, "Red Bird and We-Kaw." At 3' o'clock on the same day, a second Indian made his appearance in the same silent manner, made a similar announcement, and answered the question as to who would come in in the same manner as the first. At sundown a third came, and confirmed what the two had stated, adding that he had given nearly all his property to the families of the murderers to secure this object...

About noon of the day following the announcement, there was seen descending a mound on the prtage a body of Indians. Some were mounted and some were on foot. By the aid of a field glass they were made out to be coming toward Maj. Whistler's camp. They bore no arms, and Whistler was at a loss to understand that the promise made by the three Indians was about to be fulfilled...

The Indian party bore three flags. The two in front and rear were the American flag, while the center was flag of truce, borne by Red Bird in person... Arriving on the banks of the river, a halt was made, and a barge was sent across to receive the delegation, and an escort of soldiers was provided to convey them within the lines. And now the advance of the Indians had reached half way up the ascent of the bluff on which was Whistler's encampment. In the lead was Kar-ray-mau-nee, a distinguished chief. Arriving on the level on which was the encampment of the Americans, and order being called, Kar-ray-mau-nee sopke, saying, "They are here. Like braves they have come in; treat them as braves; do not put them in irons. This address was made to Col. McKenney. The latter told the chief he was not the big captain. His talk must be to Maj. Whistler, who would do what was right. Mr. Marsh, the sub-agent, being there, an advance was made to him, and the hope expressed that the Indians might be turned over into his hands.

The military had previously drawn out in line, the Wabanackie (Oneida) and Menomonee Indians were in groups upon their haunches upon the left flank. On the right was the band of music a little in advance of the line. In front of the center, about ten paces distant, were the murderers. On the right and left were those who had accompanied them, forming a semi-circle, the magnificient Red Bird and the miserable-looking We-Kaw a little to advance of the center. All eyes were riveted on the noble form of Red Bird. In height, he was about six feet, straight as an arrow and faultless as a model. His form was symmetrical, and as graceful as an Apollo Belvidere. His face wore an easy expression, combining dignity and grace, associated with a majextic mien. His face was parti-colored, being painted on one side red and on the other with an intermixture of pale green. He was clothed in a Yankton suit of dressed elk-skins of immaculate white, and as soft and pliable as the finest kid. it consisted of a jacket ornamented with fringe of the same material, the sleeves being cut to fit his finely molded arm, and leggings also of dressed elk-skin, the fringe of which was varied and enriched with blue beads. On his feet he wore moccasins, and, on each shoulder, in place of an epaulet was fastened a preserved bird. Around his neck he wore a collar of blue wampum, beautifully mixed with white, which was sewed on to a piece of cloth, while the claws of a panther or wild-cat, with their points inward, formed the rim of the collar. Around his neck were also hanging strands of wampum of various lengths, the circles enlarging as they descended. In one hand, he held the white flag, and in the other the calumet of peace.

When Red Bird and We-Kaw were told to sit down, the band struck up Pleyel's Hymn. All was hushed in silence. At the conclusion of the melody, Red Bird extracted from his pouch kinnikinick and tobacco, cut the later in the palm of his hand, struck a fire on a bit of punk with his flint and steel, lighted it, and smoked in serene silence.

Kar-ray-mau-nee then spoke substantially as follows: They were required to bring in the murderers. They had no power over any except two; the third had gone away, and these had voluntarily agreed to come in and give themselves up. They interceded for kind treatment, and besought that they might not be put in irons, he concluded by offering twenty horses in atonement for the loss of human life at the hands of their tribe. The Indians were cautioned regarding their future conduct, and recommended to appeal their quarrels to the Great Father for settlement, and were promised that the felons should not be ironed.

What follows is the moment I believe James Otto Lewis captured in his painting.

Having heard this, Red Bird stood up, and advancing two paces toward Maj. Whistler, said: "I am ready." After a pause he added: "I do not wish to be put in irons; let me be free. I have given away my life; it is gone." Bending and taking a pinch of dust between his fingers, he blew it away, repeating as he eyed the vanishing dust-- "Like that; I would not take it back; it is gone.

Lewis' painting has the "miserable" We-Kau skulking behind Red Bird and two significant symbols of truce or peace; white flag and calumet pipe. I do not see the "parti-colored face of red and pale green," nor do I recognize the red bird epaulets. Many of the objects described in the narrative can be clearly seen, such as "wild-cat" necklace, "strands of wampum" around the neck, blue beads attached to the arm fringe and the pouch from which he extracted "kinnikinick and tobacco."

The irony of Red Bird surrending in a Yankton suit of dressed elk-skins is very interesting since historical accounts indicate Red Bird was misled by the Yankton Sioux into thinking Col. William Snelling had put to death some Winnebago prisoners. Historians suggest this betrayal by the Sioux was one of the strongest factors that led to Red Bird's vengeful activities.

Text sources: History of Grant County, 1881, pp. 459-460.
History of Iowa County, 1881, pp.463-464

[Cliff Krainik]

Larry,

Thank you for posting the wonderful account of Red Bird's surrender and the circumstances surrounding the J.O. Lewis painting.

Cliff

[Robert Braun]

Fantastic image and accompaying historical account!

This is a slice of the historical record too often overlooked!

My thanks to Cliff and Larry!!!

Ragards, Bob.

[Larry Koschkee]

Some time ago I observed a portrait of Red Bird and Major William Whistler at the Wisconsin State Historical Society, Madison, Wi, done by Hugo Ballin.

Can someone offer some information on this painting and painter?

Larry K.

[pshrake]

I believe the original painting is hanging in the State Capital, or is a wall mural in the state capital. If one looks at the historical image collection in the state archives, you can find a small color copy of the painting. On the back is a transcription noting the background to the picture. I am afraid I do not know more than that. I had a copy of the image made but I did not have the presence of mind to copy the transcription.


Pete