This is a hand-coloured lithograph of Little-Crow a Sioux Chief. These were published as a three-volume portfolio between 1836 and 1842, the hand-coloured lithographs after the paintings are among the only portraits remaining of this early generation of Indian warriors, statesmen, medicine men, and commoners. The original paintings, which were on display in the Smithsonian Institution, were destroyed by fire in 1865. The Lithograph is 20.5 x 14.2 inches. The image has a tear in the head that can be repaired and light foxing. Chief Little Crow was the eldest son of Cetanwakuwa (Charging Hawk). It was on account of his father's name, mistranslated Crow, that he was called by the whites "Little Crow." His real name was Taoyateduta, His Red People. As far back as Minnesota history goes, a band of the Sioux called Kaposia (Light Weight, because they were said to travel light) inhabited the Mille Lacs region. Later they dwelt about St.Croix Falls, and still later near St. Paul. In 1840, Cetanwakuwa was still living in what is now West St. Paul, but he was soon after killed by the accidental discharge of his gun. It was during a period of demoralization for the Kaposias that Little Crow became the leader of his people. This lithograph is from McKenney & Halls History of the Indian Tribes, perhaps the most important work ever published on North American Indians. Little-Crow, a Sioux: Printed on border: "Published by F.W. Greenough, Philad." "Drawn printed & coloured at I.T. Bowen's Lithographic Establishment no. 94 Walnut St." "Entered according to act of Congress in the year 1838 by F.W. Greenough in the Clerks Office of the District Court of the Eastern District of Penn." Published by F.W.Greenough, Philadelphia and printed on the original full folio sheet. Thomas Lorraine McKenney was Superintendent of Indian Affairs under presidents Madison, Monroe, John Quincy Adams, and Jackson. As a result of his keen interest in the customs and beliefs of the Indian tribes under his jurisdiction, he commissioned Charles Bird King and several other artists to paint the portraits of Indians whom he had met or had heard about. With the help of James Hall, a frontier lawyer, judge, newspaper editor, and author, McKenney assembled the portraits into a coherent representation of Indian life, lore, and costume. Shipped unframed in a mailing tube. Published as a three-volume portfolio between 1836 and 1842, the hand-coloured lithographs after the paintings are among the only portraits remaining of this early generation of Indian warriors, statesmen, medicine men, and commoners.