Karl Bodmer (Swiss-born, 1809-1893). "Cave in Rock" (Vignette VII from "Travels in the Interior of North America, 1832-1834"); Paris, Coblenz, and London: 1839-1843. A first edition, hand-colored aquatint engraving after Karl Bodmer (with a Bodmer blind stamp at the lower center) from "Travels in the Interior of North America, 1832-1834" - an ambitious project that provided a detailed record of many Native American tribes encountered by Bodmer and explorer Prince Maximilian of Wied (1782-1867) during their expedition across the American West. Bodmer is famous for his incredibly accurate depictions of the ways of life of native peoples - including the Mandan, Hidatsa, Sioux, Assinoboine, Plans Cree, Gros Ventres, and Blackfoot tribes - prior to the invention of photography in the 19th century, while Prince Maximilian collected artifacts, recorded his observations, and transcribed interviews of the Native Americans. Size of sheet: 10.875" L x 16.375" W (27.6 cm x 41.6 cm) Size of matte: 18.375" L x 22.1" W (46.7 cm x 56.1 cm)

In this composition, Bodmer created a beautiful scene with figures on a paddle-steamer, figures steering two boats/rafts in the river, foliage and trees growing on the surrounding land masses, and the cave in the rock in the distance.

Karl Bodmer's works demonstrate his immense technical virtuosity and during their day provided a detailed image of a previously virtually unknown and unfortunately not long for this world way of life. Prince Maximilian zu Wied-Neuwied (1782-1867) invited Bodmer to create a visual record of his travels in North America, primarily to learn more about the Plains Indians in this era prior to the invention of the camera. The pair along with David Dreidoppel, the Prince's hunting companion and servant, traveled from 1832 to 1834. They landed in Boston in July 1832, then traveled to Philadelphia, where Napoleon Bonaparte's elder brother Joseph hosted them. Next, they headed west via Pennsylvania across the Alleghenies to Pittsburgh and the Ohio country, all the while visiting important German settlements - the utopian colony of New Harmony in Indiana being a particularly important stop. It was there that the Prince spent five months in the company of some of the countries leading experts, and studied informative literature about the American frontier. On March 1833, the party reached St. Louis, Missouri, and set off on their journey to meet and learn about Native Americans.

The trio left St. Louis aboard the steamer known as Yellow Stone on April 10, 1833. Proceeding up the perilous Missouri River following the line of forts established by the American Fur Company, they first met Native Americans at Bellevue; next, they met the Sioux peoples, all the while learning everything they could and recording the little known ceremonial dances and customs. Next, they transferred from the Yellow Stone to the Assinboine steamer, and continued to Fort Clark, visiting the Mandan, Crow, and Mintari tribes, and then the Assinboins at Fort Union, which was the primary base of the American Fur Company. They next boarded a smaller vessel to travel through the geological region of that section of the Missouri to Fort Mackenzie in Montana, where they cautiously established a friendship with the legendarily fierce Blackfeet. This was their westernmost point, as it was considered much too dangerous to continue on. Hence, they returned downstream, and the winter months presented their own set of challenges. However, Bodmer continued to create magnificent studies of the peoples, dances, and villages.

Inscription: "Vig. VII" (upper right); "Ch. Bodmer pinx ad nat / Coblenz bei J. Holscher" (lower left); "Imp de Bougeard / CAVE-IN-ROCK. / ansicht vom Ohio - vue sur l'Ohio - view on the Ohio / London published by Ackermann & Co. 96 Strand" followed by Karl Bodmer blind stamp (lower center); "Lucas Weber sc / Paris Arthus Bertrand editeur" (lower right)

Provenance: private Colorado Collection; Private Collection of a Private Colorado Family

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#169955

This first edition aquatint engraving is set in a protective matte, but it may be removed if desired. The aquatint engraving shows expected age wear with normal toning and a few minor stains. Imagery and coloring are vivid, and there is a nice Bodmer blind stamp at the bottom center that is visible when the matte is lifted.