Illustrations of the manners, customs and condition of the North American Indians: with letters and notes written during eight years of travel and adventure among the wildest and most remarkable tribes now existing

London: J.E. Adlard for Henry G.Bohn, 1866. In two volumes; 8vo. (9 3/8 x 5 3/4 inches). Deluxe issue of the 'tenth edition.' [Vol. I] viii, 264; [Vol. II] viii, 265, (1) pp. Illustrated with 313 hand-coloured etchings on 180 plates, including 3 hand-coloured maps (1 folding). Publisher's red half morocco over marbled paper-covered boards, spines in six compartments with raised bands, black and brown morocco lettering-pieces in the second and fourth compartments, the others with alternate decoration of either a large tool of a shoulder-length portrait of an Indian, or a tool showing a crossed peace-pipe and tomahawk, marbled endpapers, gilt edges

Deluxe coloured issue, one of twelve copies with the plates printed in outline and entirely coloured by hand.

In 1845, London publisher Henry Bohn took over the publication of George Catlin's work Letters and Notes on the Manners, Customs and Conditions of North American Indians. Bohn styled the "10th edition" on the title page and altered the title to that given above. According to Sabin, who had personal knowledge of Bohn, around twelve copies were hand-colored by artists. Although it is not possible to verify the identities of these artists, it was possibly Catlin copyists working in England at that time such as John Cullum or Rosa Bonheur. These hand-coloured copies became highly prized, with Sabin noting their value at $60 per set. In contrast, copies of the "Indian Portfolio" only fetched $1.50. It is worth noting that while Howes disagreed with Sabin, suggesting that various editions published by Bohn contained coloured plates, evidence favours Sabin's assessment. The handsomely hand-coloured plates in this copy bring Catlin's firsthand observations of the indigenous tribes to life in striking detail, capturing scenes of indigenous cultures and individual portraits. George Catlin's journey was no less remarkable than his work. In the 1830s, he ventured deep into the American West and visited eighteen tribes, including the Pawnee, Omaha, and Ponca in the south and the Mandan, Hidatsa, Cheyenne, Crow, Assiniboine, and Blackfeet to the north. There he produced the most vivid and penetrating portraits of his career. During later trips along the Arkansas, Red, and Mississippi rivers, as well as visits to Florida and the Great Lakes, he produced more than 500 paintings and gathered a substantial collection of artifacts. Catlin's works remain a testament to his dedication to preserving the history and culture of the indigenous tribes he encountered.

Clark III:141; Field 260; Howes C241; McCracken 8K; cf. G.A.Miles & W.S.Reese America Pictured to the Life 55 (1848 edition); Pilling 685; Sabin 11537; Streeter Sale 4277; Wagner-Camp 84.