This post is on of several that seeks to determine how many images exist of Great Buffalo, the famous La Pointe Ojibwe chief who died in 1855.  To learn why this is necessary, read this post introducing the Great Chief Buffalo Picture Search.

Today’s post looks at two paintings from the 1820s of Ojibwe men named Bizhiki (Buffalo).  The originals are lost forever, but the images still exist in the lithographs that follow.

Pee-che-kir: A Chippewa Chief Lithograph from McKenney and Hall’s History of the Indian Tribes of North America based on destroyed original by Charles Bird King; 1824. (Wikimedia Images)

Pe-shick-ee: A Celebrated Chippeway Chief from the Aboriginal Port-Folio by James Otto Lewis.  The original painting was done by Lewis at Prairie du Chien or Fond du Lac of Lake Superior in 1825 or 1826 (Wisconsin Historical Society).

1824 Delegation to Washington

Chronologically, the first known image to show an Ojibwe chief named Buffalo appeared in the mid-1820s at time when the Ojibwe and the United States government were still getting to know each other. Prior to the 1820s, the Americans viewed the Ojibwe as a large and powerful nation. They had an uncomfortably close history with the British, who were till lurking over the border in Canada, but they otherwise inhabited a remote country unfit for white settlement. To the Ojibwe, the Americans were chimookomaan, “long knives,” in reference to the swords carried by the military officers who were the first Americans to come into their country.  It was one of these long knives, Thomas McKenney, who set in motion the gathering of hundreds of paintings of Indians. Two of these showed men named Buffalo (Bizhiki).

Charles Bird King: Self portrait 1815 (Wikimedia Images)

McKenney was appointed the first Superintendent of Indian Affairs in 1824. Indian Affairs was under the Department of War at that time, and McKenneyʼs men in the West were mostly soldiers. He, like many in his day, believed that the Indian nations of North America were destined for extinction within a matter of decades.  To preserve a record of these peoples, he commissioned over 100 portraits of various Indian delegates who came to Washington from all over the U.S. states and territories. Most of the painting work fell to Charles Bird King, a skilled Washington portrait artist. Beginning in 1822, King painted Indian portraits for two decades.  He would paint famous men like Black Hawk, Red Jacket, Joseph Brandt, and Major Ridge, but Kingʼs primary goal was not to record the stories of important individuals so much as it was to capture the look of a vanishing race.

No-tin copied from 1824 Charles Bird King original by Henry Inman. Noodin (Wind) was a prominent chief from the St. Croix country.  King’s painting of Buffalo from St. Croix was probably also copied by Inman, but its location is unknown (Wikimedia Images).

In July of 1824, William Clark, the famous companion of Meriwether Lewis, brought a delegation of Sauks, Foxes, and Ioways to Washington to negotiate land cessions. Lawrence Taliaferro, the Indian agent at Fort St. Anthony (now Minneapolis), brought representatives of the Sioux, Menominee, and Ojibwe to observe the treaty process. The St. Croix chiefs Buffalo and Noodin (Wind) represented the Ojibwe.

Charles Bird King painted portraits of most of the Indians listed here in the the 1824 Washington group by Niles’ Weekly Register, July 31, 1824. (Google Books)

The St. Croix chiefs were treated well: taken to shows, and to visit the sights of the eastern cities. However, there was a more sinister motivation behind the governmentʼs actions. McKenney made sure the chiefs saw the size and scope of the U.S. Military facilities in Washington, the unspoken message being that resistance to American expansion was impossible. This message seems to have resonated with Buffalo and Noodin of St. Croix as it is referred to repeatedly in the official record.  McKenney pointed Buffalo out as a witness to American power at the Treaty of Fond du Lac (1826). Schoolcraft and Allen mention Buffalo’s trip in their own ill-fated journey up the St. Croix in 1832 (see it in this post), and Noodin talks about the soldiers he saw in Washington in the treaty deliberations in the 1837 Treaty of St. Peters.

While in Washington, Buffalo, Noodin, and most of the other Indians in the group sat with King for portraits in oil. Buffalo was shown wearing a white shirt and cloak, holding a pipe, with his face painted red. The paintings were hung in the offices of the Department of War, and the chiefs returned to their villages.

James Otto Lewis

The following summer, St. Croix Buffalo and Noodin joined chiefs from villages throughout the Ojibwe country, as well as from the Sioux, Sac and Fox, Menominee, Ho-Chunk, Ioway, Ottawa, and Potawatomi at Prairie du Chien. The Americans had called them there to sign a treaty to establish firm borders between their nations. The stated goal was to end the wars between the Sioux and Ojibwe, but it also provided the government an opportunity to assert its authority over the country and to set the stage for future land cessions.

McKenney did not attend the Treaty of Prairie du Chien leaving it to Clark and Lewis Cass to act as commissioners. A quick scan of the Ojibwe signatories shows “Pee-see- ker or buffalo, St. Croix Band,” toward the bottom. Looking up to the third signature, we see “Gitspee Waskee, or le boeuf of la pointe lake Superior,” so both the St. Croix and La Pointe Buffalos were present among the dozens of signatures. One of the government witnesses listed was an artist from Philadelphia named James Otto Lewis.  Over the several days of negotiation, Lewis painted scenes of the treaty grounds as well as portraits of various chiefs. These were sent back to Washington, some were copied and improved by King or other artists, and they were added to the collection of the War Department.

The following year, 1826, McKenney himself traveled to Fond du Lac at the western end of Lake Superior to make a new treaty with the Ojibwe concerning mineral exploration on the south shore. Lewis accompanied him and continued to create images.  At some point in these two years, a Lewis portrait of an Ojibwe chief named Pe-schick-ee (Bizhiki) appeared in McKenneyʼs growing War Department collection.

Lithographs

By 1830, McKenney had been dismissed from his position and turned his attention to publishing a portfolio of lithographs from the paintings in the War Department collection.  Hoping to cash in his own paintings by beating McKenney to the lithograph market, Lewis released The Aboriginal Port Folio in May of 1835. It included 72 color plates, one of which was Pe-schick-ee: A Celebrated Chippeway Chief.

Pencil sketch of Pee-che-kir by Charles Bird King. King made these sketches after his original paintings to assist in making copies.  (Herman J. Viola, The Indian Legacy of Charles Bird King.)

Due to financial issues The History of the Indian Tribes of North America, by McKenney with James Hall, would not come out in full release until the mid 1840s. The three-volume work became a bestseller and included color plates of 120 Indians, 95 of which are accompanied by short biographies. Most of the lithographs were derived from works by King, but some were from Lewis and other artists. Kingʼs portrait of Pee-Che-Kir: A Chippewa Chief was included among them, unfortunately without a biography.  However, we know its source as the painting of the St. Croix Buffalo in 1824. Noodin and several others from that delegation also made it into lithograph form. The original War Department paintings, including both Pee-Che-Kir and Pe-schick-ee were sent to the Smithsonian, where they were destroyed in a fire in 1858.  Oil copies of some of the originals, including Henry Inmanʼs copy of Kingʼs portrait of Noodin, survive, but the lithographs remain the only known versions of the Buffalo portraits other than a pencil sketch of the head of Pee-Che-Kir done by King.

The man in the Lewis lithograph is difficult to identify. The only potential clue we get from the image itself is the title of “A Celebrated Chippeway Chief,” and information that it was painted at Prairie du Chien in 1825. To many, “celebrated” would indicate Buffalo from La Pointe, but in 1825, he was largely unknown to the Americans while the St. Croix Buffalo had been to Washington. In the 1820s, La Pointe Buffaloʼs stature was nowhere near what it would become.  However, he was a noted speaker from a prominent family and his signature is featured prominently in the treaty.  Any assumptions about which chief was more “celebrated”  are difficult.

In dress and pose, the man painted by Lewis resembles the King portrait of St. Croix Buffalo. This has caused some to claim that the Lewis is simply the original version of the King.  King did copy and improve several of Lewisʼ works, but the copies tended to preserve in some degree the grotesque, almost cartoonish, facial features that are characteristic of the self-taught Lewis (see this post for another Lewis portrait). The classically-trained King painted highly realistic faces, and side-by-side comparison of the lithographs shows very little facial resemblance between Kingʼs Pee-Che-Kir and Lewisʼ Pe-schick-ee.

Thomas L. McKenney painted in 1856 by Charles Loring Elliott (Wikimedia Images)

Of the 147 War Department Indian portraits cataloged by William J. Rhees of the Smithsonian prior to the fire, 26 are described as being painted by “King from Lewis,” all of which are from 1826 or after. Most of the rest are attributed solely to King. Almost all the members of the 1824 trip to Washington are represented in the catalog. “Pee-che-ker, Buffalo, Chief of the Chippeways.” does not have an artist listed, but Noodin and several of the others from the 1824 group are listed as King, and it is safe to assume Buffalo’s should be as well. The published lithograph of Pee-che-kir was attributed solely to King, and not “King from Lewis” as others are.  This further suggests that the two Buffalo lithographs are separate portraits from separate sittings, and potentially of separate chiefs.

Even without all this evidence, we can be confident that the King is not a copy of the Lewis because the King portrait was painted in 1824, and the Lewis was painted no earlier than 1825. There is, however, some debate about when the Lewis was painted. From the historical record, we know that Lewis was present at both Prairie du Chien and Fond du Lac along with both the La Pointe Buffalo and the St. Croix Buffalo. When Pe- schick-ee was released, Lewis identified it as being painted at Prairie du Chien.  However, the work has also been placed at Fond du Lac.

The modern identification of Pee-che-kir as a copy of Pe-schick-ee seems to have originated with the work of James D. Horan. In his 1972 book, The McKenney-Hall Portrait Gallery of American Indians, he reproduces all the images from History of the Indian Tribes, and adds his own analysis. On page 206, he describes the King portrait of Pee-che-kir with:

“Peechekir (or Peechekor, Buffalo) was “a solid, straight formed Indian,” Colonel McKenney recalled many years after the Fond du Lac treaty where he had met the chief. Apparently the Chippewa played a minor role at the council.

Original by James Otto Lewis, Fond du Lac council, 1826, later copied in Washington by Charles Bird King.”

Presumably, the original he refers to would be the Lewis portrait of Pe-schick-ee. However, Horanʼs statement that McKenney met St. Croix Buffalo at Fond du Lac is false. As we already know, the two men met in 1824 in Washington. It is puzzling how Horan did not know this considering he includes the following account on page 68:

The first Indian to step out of the closely packed lines of stone-faced red men made McKenney feel at home; it was a chief he had met a few years before in Washington. The Indian held up his hand in a sign of peace and called out:
“Washigton [sic]… Washington… McKenney shook hands with the chief and nodded to Lewis but the artist had already started to sketch.”

McKenneyʼs original account identifies this chief as none other than St. Croix Buffalo:

In half an hour after, another band came in who commenced, as did the others, by shaking hands, followed, of course, by smoking. In this second band I recognized Pee-che-kee, or rather he recognized me–a chief who had been at Washington, and whose likeness hangs in my office there. I noticed that his eye was upon me, and that he smiled, and was busily employed speaking to an Indian who sat beside him, and no doubt about me. His first word on coming up to speak to me was, “Washington”–pointing to the east. The substance of his address was, that he was glad to see me–he felt his heart jump when he first saw me–it made him think of Washington, of his great father, of the good living he had when he visited us–how kind we all were to him, and that he should never forget any of it.

From this, Horan should have known not only that the two men knew each other, but also that a portrait of the chief (Kingʼs) already was part of the War Department collection and therefore existed before the Lewis portrait. Horanʼs description of Lewis already beginning his sketch does not appear in McKenneyʼs account and seems to invented. This is not the only instance where Horan confuses facts or takes wide license with Ojibwe history.  His statement quoted above that the Ojibwe “played a minor role” in the Treaty of Fond du Lac, when they were the only Indian nation present and greatly outnumbered the Americans, should disqualify Horan from being treated as any kind of authority on the topic.  However, he is not the only one to place the Lewis portrait of Pe-schick-ee at Fond du Lac rather than Prairie du Chien.

Between, 1835 and 1838 Lewis released 80 lithographs, mostly of individual Indians, in a set of ten installments. He had intended to include an eleventh with biographies. However, a dispute with the publisher prevented the final installment from coming out immediately. His London edition, released in 1844 by another publisher, included a few short biographies but none for Pe-schick-ee. Most scholars assumed that he never released the promised eleventh installment. However, one copy of a self-published 1850 pamphlet donated by Lewisʼs grandson exists in the Free Library of Philadelphia. In it are the remaining biographies. Number 30 reads:

No. 30. Pe-shisk-Kee. A Chippewa warrior from Lake Huron, noted for his attachment to the British, with whom he always sided. At the treaty held at Fond du Lac, when the Council opened, he appeared with a British medal of George the III. on his breast, and carrying a British flag, which Gen. Cass, one of the Commissioners, promptly and indignantly placed under his feet, and pointing to the stars and stripes, floating above them, informed him that that was the only one permitted to wave there.

The Chief haughtily refused to participate in the business of the Council, until, by gifts, he became partly conciliated, when he joined in their deliberations. Painted at Fond du Lac, in 1826.

This new evidence further clouds the story. Initially, this description does not seem to fit what we know about either the La Pointe or the St. Croix Buffalo, as both were born near Lake Superior and lived in Wisconsin. Both men were also inclined to be friendly toward the American government. The St. Croix Buffalo had recently been to Washington, and the La Pointe Buffalo frequently spoke of his desire for good relations with the United States in later years. It is also troubling that Lewis contradicts his earlier identification of the location of the portrait at Prairie du Chien.

It is unlikely that Pe-schick-ee depicts a third chief given that no men named Buffalo other than the two mentioned signed the Treaty of Fond du Lac, and the far-eastern bands of Ojibwe from Lake Huron were not part of treaty councils with the Lake Superior bands. One can speculate that perhaps Lewis, writing 25 years after the original painting, mistook the story of Pe-schick-ee with that one of the many other chiefs he met in his travels, but there are some suggestions that it might, in fact, be La Pointe Buffalo.

The La Pointe Band traded with the British in the other side of Lake Superior for years after the War of 1812 supposedly confirmed Chequamegon as American territory.  If you’ve read this post, you’ll know that Buffalo from La Pointe was a follower of Tenskwatawa, whose brother Tecumseh fought beside the British.  On July 22, 1822, Schoolcraft writes:

At that place [Chequamegon] lived, in comparatively modern times, Wabojeeg and Andaigweos, and there still lives one of their descendants in Gitchee Waishkee, the Great First-born, or, as he is familiarly called, Pezhickee, or the Buffalo, a chief decorated with British insignia. His band is estimated at one hundred and eighteen souls, of whom thirty-four are adult males, forty-one females, and forty-three children.

It’s possible that it was La Pointe Buffalo with the British flag.  Archival research into the Treaty of Fond du Lac could potentially clear this up.  If I stumble across any, I’ll be sure to add it here.  For now, we can’t say one way or the other which Buffalo is in the Lewis portrait.

The Verdict

Not Chief Buffalo from La Pointe: This is Chief Buffalo from St. Croix.

Inconclusive:  This could be Buffalo from La Pointe or Buffalo from St. Croix.

Sources:

Horan, James David, and Thomas Loraine McKenney. The McKenney-Hall Portrait Gallery of American Indians. New York, NY: Bramhall House, 1986. Print.

KAPPLER’S INDIAN AFFAIRS: LAWS AND TREATIES. Ed. Charles J. Kappler. Oklahoma State University Library, n.d. Web. 21 June 2012. <http:// digital.library.okstate.edu/Kappler/>.

Lewis, James O., The Aboriginal Port-Folio: A Collection of Portraits of the Most Celebrated Chiefs of the North American Indians. Philadelphia: J.O. Lewis, 1835-1838. Print.

———– Catalogue of the Indian Gallery,. New York: J.O. Lewis, 1850. Print.

Loew, Patty. Indian Nations of Wisconsin: Histories of Endurance and Renewal.
Madison: Wisconsin Historical Society, 2001. Print.

McKenney, Thomas Loraine. Sketches of a Tour to the Lakes of the Character and Customs of the Chippeway Indians, and of Incidents Connected with the Treaty of Fond Du Lac. Baltimore: F. Lucas, Jun’r., 1827. Print.

McKenney, Thomas Loraine, and James Hall. Biographical Sketches and Anecdotes of Ninety-five of 120 Principal Chiefs from the Indian Tribes of North America. Washington: U.S. Dept. of the Interior, Bureau of Indian Affairs, 1967. Print.

Moore, Robert J. Native Americans: A Portrait : The Art and Travels of Charles Bird King, George Catlin, and Karl Bodmer. New York: Stewart, Tabori & Chang, 1997. Print.

Niles, Hezekiah, William O. Niles, Jeremiah Hughes, and George Beatty, eds. “Indians.” Niles’ Weekly Register [Baltimore] 31 July 1824, Miscellaneous sec.: 363. Print.

Rhees, William J. An Account of the Smithsonian Institution. Washington: T. McGill, 1859. Print.

Satz, Ronald N. Chippewa Treaty Rights: The Reserved Rights of Wisconsin’s Chippewa Indians in Historical Perspective. Madison, WI: Wisconsin Academy of Sciences, Arts and Letters, 1991. Print.

Schoolcraft, Henry Rowe, and Philip P. Mason. Expedition to Lake Itasca; the Discovery of the Source of the Mississippi,. [East Lansing]: Michigan State UP, 1958. Print.

Schoolcraft, Henry R. Personal Memoirs of a Residence of Thirty Years with the Indian Tribes on the American Frontiers: With Brief Notices of Passing Events, Facts, and Opinions, A.D. 1812 to A.D. 1842. Philadelphia: Lippincott, Grambo and, 1851. Print.

Viola, Herman J. The Indian Legacy of Charles Bird King. Washington: Smithsonian Institution, 1976. Print.

Warren, William W., and Theresa M. Schenck. History of the Ojibway People. St. Paul: Minnesota Historical Society, 2009. Print.

Special thanks to Theresa Schenck of the University of Wisconsin and Charles Lippert for helping me work through this information, and to Michael Edmonds of the Wisconsin Historical Society, and Alice Cornell (formerly of the University of Cincinnati) for tracking down the single copy of the unpublished James Otto Lewis catalog.