Ink Prints and Multiples

Plate No. 356 by Johanna Goodman Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation...

Giclée print on Archival Matte Paper with Archival Pigment Ink. In 2017 she was awarded the New York State Council for the Arts/New York Foundation for the Arts Fellowship grant for...

Bold abstract monoprint by Roxanne Lu (20th Century). This piece is composed of botanical shapes laid across large patches of pale magenta, olive green, grey, and pale blue. Signed, dated, and marked with the artist's chop in the lower right corner (Roxanne Lo...

ZOFIA ANNA MISIAK Zofia Anna Misiak is a contemporary painter from an artistic family. Her parents are Janina Żylińska and Stanisław Misiak. Zofia Anna Misiak graduated from the Acad...

large scale abstract panoramic photograph of lush emerald green nature biotope, a highly detailed observation of the natural beauty of Japan's famous Arashiyama Bamboo Grove Bamboo Forest by Erik Pawassar 48 x 175 inches (122 x 444cm) six individual glass panels (48 x 29 inches / each) signed edition of 7 archival quality fine art pigment print “Frameless” acrylic glass mounting * artist signed + numbered certificate of authenticity ________________________ About the artist: Erik Pawassar's work focuses on the beauty of the disregarded or mundane object. The subjects for his striking and captivating visuals are typically set in the most ordinary environments, drawing the viewer into a charged but serene experience based on composition, palette and formal lines. Saturated in color, the nominal subjects gather a haunting and mesmerizing quality, creating a poignant pretext for the making of a formal color photograph. Decisively capturing the traces left by humanity, Pawassar's images are filled with a sense of universal nostalgia and pay homage to the passage of time and the extinguished moment, referencing documentary and street photographers like Henri Cartier-Bresson, Sebastian Salgado...

"Zaida del Rio (Cuba, 1954) 'Untitled ', 2016 digital print on paper 11.1 x 8.3 in. (28 x 21 cm.) ID: DER-206"

Onward Ostrich Series: Meditations Photo-based painting on Canson Infinity Rag Photographique Available Sizes 30 x 26 Edition of 15 40 x 34 Edition of 12 60 x 50 Edition of 10 In t...

Colosseo Quadrato (2020) by Frank Schott, from a series of photographic observances capturing Roman urban textures and color palettes of timeless ar...

Compelling pop art silkscreen of hot lips and target after Andy Warhol titled "Casualty" by David Mar(American, 20th Century). Edition 3/3. Signed and dated "Mar 1991" below lower ed...

John Chamberlain Hand Signed Letter re: Leo Castelli Exhibition, 1982 Typewriter on paper (hand signed) 6 1/2 × 8 1/2 inches Hand-signed by artist, Signed in purple felt tip marker Hand signed telegraph/letter refers to Chamberlain's exhibition at the legendary Leo Castell Gallery. A piece of history! John Chamberlain Biography John Chamberlain (1927 – 2011) was a quintessentially American artist, channeling the innovative power of the postwar years into a relentlessly inventive practice spanning six decades. He first achieved renown for sculptures made in the late 1950s through 1960s from automobile parts—these were path-breaking works that effectively transformed the gestural energy of Abstract Expressionist painting into three dimensions. Ranging in scale from miniature to monumental, Chamberlain’s compositions of twisted, crushed, and forged metal also bridged the divide between Process Art and Minimalism, drawing tenets of both into a new kinship. These singular works established him as one of the first American artists to determine color as a natural component of abstract sculpture. From the late 1960s until the end of his life, Chamberlain harnessed the expressive potential of an astonishing array of materials, which varied from Plexiglas, resin, and paint, to foam, aluminum foil, and paper bags. After spending three years in the United States Navy during World War II, Chamberlain enrolled in the Art Institute of Chicago and Black Mountain College, where he developed the critical underpinnings of his work. Chamberlain lived and worked in many parts of the United States, moving between New York City, Long Island, Los Angeles, Santa Fe, Connecticut, and Sarasota, before finally settling on Shelter Island. In many ways, each location provoked a distinct material sensibility, often defined by the availability of that material or the limitations of physical space. In New York City, Chamberlain pulled scrap metal and twelve-inch acoustic tiles from the ceiling of his studio apartment. He chose urethane in Los Angeles in 1965 (a material he had been considering for many years), and film in Mexico in 1968. He eventually returned to metal in 1972, and, in Sarasota, he expanded the scale of his works to make his iconic Gondolas (1981 – 1982). The movement of the artist and the subsequent evolution of the work is indicative not only of a kind of American restlessness but also of Chamberlain’s own personal evolution: he sometimes described his use of automobile materials as sculptural self-portraits, infused with balance and rhythm characteristic of the artist himself. Chamberlain refused to separate color from his practice, saying, ‘I never thought of sculpture without color. Do you see anything around that has no color? Do you live in a world with no color?’. He both honored and assigned value to color in his practice—in his early sculptures color was not added, but composed from the preexisting palette of his chosen automobile parts. Chamberlain later began adding color to metal in 1974, dripping and spraying—and sometimes sandblasting—paint and lacquer onto his metal components prior to their integration. With his polyurethane foam works, color was a variable of light: ultraviolet rays or sunlight turned the material from white to amber. It was this profound visual effect that brought the artist’s personal Abstract Expressionist hand into industrial three-dimensional sculpture. Chamberlain moved seamlessly through scale and volume, creating material explorations in monumental, heavy-gauge painted aluminum foil in the 1970s, and later in the 1980s and 1990s, miniatures in colorful aluminum foil and chromium painted steel. Central to Chamberlain’s works is the notion that sculpture denotes a great deal of weight and physicality, disrupting whatever space it occupies. In the Barges series (1971 – 1983) he made immense foam couches, inviting spectators to lounge upon the cushioned landscape. At the end of his career, Chamberlain shifted his practice outdoors, and through a series of determined experiments, finally created brilliant, candy-colored sculptures in twisted aluminum foil. In 2012, four of these sculptures were shown outside the Seagram Building in New York, accompanied by playful titles such as ‘PINEAPPLESURPRISE’ (2010) and ‘MERMAIDSMISCHIEF’ (2009). These final works exemplify Chamberlain’s lifelong dedication to change—of his materials, of his practice, and, consequently, of American Art. Chamberlain has been the subject of numerous solo exhibitions, including two major Retrospectives at the Solomon R. Guggenheim Museum in New York NY in 2012 and 1971; ‘John Chamberlain, Squeezed and Tied. Foam and Paper Sculptures 1969-70,’ Dan Flavin Art Institute, Dia Center for the Arts, Bridgehampton NY (2007); ‘John Chamberlain. Foam Sculptures 1966–1981, Photographs 1989–2004,’ Chinati Foundation, Marfa TX (2005); ‘John Chamberlain. Current Work and Fond Memories, Sculptures and Photographs 1967–1995,’ Stedelijk Museum, Amsterdam, Netherlands (Traveling Exhibition) (1996); and ‘John Chamberlain. Sculpture, 1954–1985,’ Museum of Contemporary Art, Los Angeles CA (1986). Chamberlain’s sculptures are part of permanent exhibitions at the Chinati Foundation in Marfa TX and at Dia:Beacon in upstate New York. In 1964, Chamberlain represented the United States in the American Pavilion at the 32nd International Exhibition of the Venice Biennale. He received many awards during his life, including a Doctor of Fine Arts, honoris causa, from the College for Creative Studies, Detroit (2010); the Distinction in Sculpture Honor from the Sculpture Center, New York (1999); the Gold Medal from The National Arts Club Award, New York (1997); the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center, Washington D.C. (1993); and the Skowhegan Medal for Sculpture, New York NY (1993). -Courtesy Hauser & Wirth Leo Castelli Leo Castelli was born in 1907 in Trieste, a city on the Adriatic sea, which, at the time, was the main port of the Austro-Hungarian Empire. Leo’s father, Ernest Kraus, was the regional director for Austria-Hungary’s largest bank, the Kreditandstalt; his mother, Bianca Castelli, was the daughter of a Triesten coffee merchant. With the outbreak of World War I in 1914 the Kraus family relocated to Vienna where Leo continued his education. A particularly memorable moment for Leo during this period of his life was the funeral of Emperor Francis Joseph which he witnessed in November of 1916. Leo and his family returned to Trieste when the war ended in 1918. With the fall of the Austro-Hungarian Empire Trieste embraced its new Italian identity. Motivated by this shift Ernest decided to adopt his wife's more Italian-sounding maiden name, Castelli, which his children also assumed. In many ways the Castelli’s return Trieste after the war marked an optimistic new beginning for the family. Ernest was made director of the Banca Commerciale Italiana, which had replaced the Kreditandstalt as the top bank in Trieste. This elevated position allowed Ernest and Bianca to cultivate a cosmopolitan life-style. Together they hosted frequent parties which brought them in contact with a spectrum of political, financial, and cultural luminaries. Growing up in such an environment fostered in Leo and his two siblings, Silvia and Giorgio, a strong appreciation of high culture. During this time Leo developed a passion for Modern literature and perfected his fluency in German, French, Italian, and English. After earning his law degree at the University of Milan in 1932, Leo began his adult life as an insurance agent in Bucharest. Although Leo found the job unfulfilling and tedious, the people he met in Bucharest made up for this deficiency. Among the most significant of Leo’s acquaintances during this time was the eminent businessman, Mihail Shapira. Leo eventually became friendly with the rest of the Shapira family and in 1933 he married Mihail's youngest daughter, Ileana. In 1934 Leo and Ileana moved to Paris where, thanks to his step-father’s influence, Leo was able to get a job in the Paris branch of the Banca d'Italia. In the same year, Leo met the interior designer René Drouin, who became his close friend. In the spring of 1938, while walking through the Place Vendôme, Leo and René came across a storefront for rent between the Ritz hotel and a Schiaparelli boutique. The space immediately impressed them as an ideal location for an art gallery, a plan which became reality the following spring in 1939. The Drouin Gallery opened with an exhibition featuring painting and furniture by Surrealist artists including Léonor Fini, Augene Berman, Meret Oppenheim, Max Ernst, and Salvador Dali. Despite the success of this initial exhibition, the gallery proved short-lived. Germany invaded Poland on September 1, 1939 marking the start of World War II and consequently the temporary end of the Drouin gallery. René was called to serve in the French army, while Leo, Ileana, and their three-year-old daughter Nina moved to the relative safety of Cannes, where Ileana’s family owned a summer house. As the war escalated, it became evident that Europe was no longer safe for the Castelli family—Leo and Ileana were both Jewish. In March of 1941, Leo, Ileana and Nina fled to New York bringing with them Nina’s nurse Frances and their dog, Noodle. After a year of moving around the city, the family took up permanent residence at 4 East 77 Street in a townhouse Mihail had bought. Nine months after his arrival in New York, in December of 1943, Leo volunteered for the US army, expediting his naturalization as a US citizen. Owing to his facility with languages, Leo was assigned to serve in the U.S. Army Intelligence Corp, a position which he held for two years, until February 1946. While on military leave in 1945 Leo visited Paris and stopped by Place Vendôme gallery where René had once more set up business selling work by European avant-garde artists such as Jean Dubuffet and Jean Fautrier. The meeting not only rekindled René and Leo’s friendship but also the latter’s interest in art dealing, a pursuit which Leo began to view as more than a mere hobby but as a potential career. After reconnecting, the two friends decided to go back into partnership with Leo acting as the New York representative for the Drouin Gallery. Working in this capacity, Leo began to form relationships with some of the New York art world’s most influential figures, including Peggy Guggenhiem, Sydney Janis, Willem De Kooning, and Jackson Pollock. By the late 40s Leo’s ties with René Drouin had begun to slacken, while his alliance with the dealer Sydney Janis became closer. Janis opened his New York gallery in 1948 and in 1950 invited Leo to curate an exhibition of contemporary French and American artists. The show drew a significant connection between the venerable tradition of European Modernism and the emerging artists of the New York School. Not long after this, in 1951, Leo was asked by these same New York School artists to organize the groundbreaking Ninth Street Show. This exhibition was instrumental in establishing Abstract Expressionism as the preeminent art movement of the post-war era. Leo founded his own gallery in 1957, transforming the living room on the fourth floor of the 77th Street townhouse into an exhibition space. Perhaps the most critical moment of Leo’s career occurred later that year, when he first visited the studios of Robert Rauschenberg and Jasper Johns. In 1958 Leo gave Johns and Rauschenberg solo shows, in January and March respectively. For Johns, this was the first solo show of his career. These exhibitions received wide critical acclaim, solidifying Leo’s reputation not only as a dealer but as the arbiter of a new and important art movement. Over the course of the 1960s Leo played a formative role in launching the careers of many of the most significant artists of the twentieth century including Roy Lichtenstein, Andy Warhol, Claes Oldenberg, Cy Twombly, Donald Judd, Dan Flavin, Robert Morris, Bruce Nauman, Richard Serra, Joseph Kosuth and Lawrence Weiner. Through his support of these artists Leo likewise helped cultivate and define the movements of Pop, Minimalism, Conceptual Art, and Post-Minimalism. As business expanded over the course of the 60s and artistic trends shifted in favor of larger artworks, Leo realized that his townhouse gallery was not sufficient to meet these new demands. Indicative of the trend toward maximal art...

TULLE of 3 Images by Christian Stoll an epic scale photograph of mesmerizing texture details 3 x single Images of 64 x 48 inches / 163cm x 122cm editi...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

"Zaida del Rio (Cuba, 1954) 'Untitled ', 2016 digital print on paper 11.1 x 8.3 in. (28 x 21 cm.) ID: DER-204"

Study of a female nude in the Baroque style, by acclaimed California artist Ben Messick (American, 1891-1981). Signed "Ben Messick 40" in plate and pencil lower left, by the estate. Unframed. Image size, 4.75"L x 10.5"H; overall mat size is, 16"L x 20"H. Some foxing to over-mat. The following is submitted by Jim Lafferty whose sources include the autobiography of the artist: William Washington Messick married Sarah A. Bristow January 2,1889 and from this marriage a son, Benjamin Newton Messick was born on January 9, 1891 on a farm near Strafford, Missouri. His art talent was apparent from the time he was a child and later recognized by his commanding officer in World War I. He completed his training in Los Angeles at Chouinard in the late-1920s and is well-known for his Regionalist scenes and Modernist paintings. He was an instructor at Chouinard through the 1950s & influenced a generation of LA Modernists. Little is recorded in his autobiography about Messick's life from his teen years and service during the War. He enrolled at Chouinard Institute in the Fall of 1925, and was given a three-year scholarship by Mrs. Chouinard. In 1925 he won a cash award at the Los Angeles County Fair for a group of pen and charcoal drawings done in the parks and streets of Los Angeles. These works give the appearance of being spontaneous and fluid. In 1930 Messick left Chouinard as a full-time student and rented an apartment on West Eighth Street to use as a studio and living quarters. He had his own ideas on what he was trying to accomplish in art. "If you should ask what is the message of my drawings, I should say that they may explain themselves or may be just a technical exercise." By the mid 1940s, Messick's position in the art world had been well established as a teacher, painter, printmaker, writer and critic. Over his life time he had over 400 shows and exhibitions. Starting in 1939 he produced a number of stone lithographs that appear to the untrained eye as original drawings. To Messick the image was the most important aspect of his lithographs, and his signature in the plate was sufficient. Hand signing each lithograph did not seem necessary to him. He exhibited prints widely including the Albany Print Club and the Metropolitian Museum. To further substantiate the authenticity of Messick's prints the Eclectic Gallery under the authority of the Messick family posthumously pencil signed each estate-acquired stone lithograph. Messick had a childhood fascination with the circus and started drawing and painting the circus in 1935. His circus work, especially his clown studies, and his lithographs became his trademark work for in the 1940s and 1950s. A critic for ART REVIEW described his Big Top work this way: "His circus canvases...

Let’s come together Let’s learn to love one another Learn to love your brother Learn to love your sister Love your neighbor One eye can’t see One ear doesn’t hear One hand can’t cla...

On Land (2006) by Frank Schott, large scale photograph of classic red wooden row boat in dry California desert landscape 26.5 x 40 inches (67 x 102cm)...

mesmerizing light reflections of glistening sunlight on turquoise aquamarine water surface, an homage to the iconic pool reflections paintings by artist David Hockney H2O V by Erik ...

large format photograph capturing iconic elements of modernist midcentury architecture in California desert Palm Springs ( White ) by Frank Schott 40 x 32 inches ( 132 x 81cm ) ed...

Li Zhong-Liang, Chinese (1944 - ) - Horse Riding, Year: 1990, Medium: Acrylic, Watercolor and Ink on Laid Paper, signed and dated in ink, Size: 39.75 x 40.5 in. (100.97 x 102.87 cm)

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

Luis Miguel Valdes (Cuba, 1949) "Another sitting on the wall", 2024 monotype (monoprint) on paper 22.5 x 28.75 in. (57x73 cm.) Hand-signed by author ________________________________...

Hugh Masekela, The Father of South African Jazz - Signed Lithograph Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). Rendered in a s...

from a series of Industrial Style still life photographs captured at a high performance race car performance garage 32 x 40 inches / 81cm x 102cm signed edition of 25 archival qual...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing a view of an the Ohashiya Inn in Akasaka, circa 1850. This family-owned inn operated from 1649-2015 and, upon it's c...

large scale photograph of lush tropical rainforest botanical tableau, from a series of highly detailed large format nature observations, an homage to the fantastical jungle paintings by artist Henri Rousseau Cloud Forest...

Untitled (Crimson) 40 x 40 inches / 102cm 102cm signed edition of 25 58 x 58 inches / 147cm x 147cm signed edition of 7 archival quality fine art pigment print limited art edit...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensively beautiful body of works exploring the botanica...

"Zaida del Rio (Cuba, 1954) 'Untitled ', 2016 digital print on paper 11.1 x 8.3 in. (28 x 21 cm.) ID: DER-208"

Artwork details: Jamie Williams, Nightlies, image 30cm x 30cm, sheet size 26.5cm x 26.5cm, on Hahnemuhle Photo Rag Paper Signed with Edition 3/20 verso, 2022 Jamie Williams is an e...

The Council says; Forget about where you come from As long as you’re a black man You’re an African if you come from Clarendon, Portland, Westmoreland… Don’t mind your nationality Yo...

"Smoke Bush Orange" by Deirdre Murphy is a framed, one-of-a-kind monoprint with collage (chine collé - applied Japanese colored Gampi papers) in a range of tangerines and oranges on ...

Mark di Suvero Dreambook (hand signed by Mark di Suvero), 2008 Hardback monograph with no dust jacket as issued (hand signed by Mark di Suvero) Boldly signed by Mark di Suvero on the...

a series of large scale observations on French master paintings and their opulent gilded frames GILDED DRAMA by Frank Schott 60 x 48 inches ...

Mesmerizing large format photograph of ethereal floral surface and horizon , a body of works capturing the tactile surfaces and monochromatic nature and cloudscapes Blue Hour (2021)...

Ecole de Peinture is a drawing in China Ink on paper realized by Adolphe Willette in the Late 19th Century . Good conditions. Hand-signed. The artwork is depicted through soft st...

Fritz Scholder (United States, 1937-2005) 'Mystery portrait in Barcelona -1', 1982 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-006-000 Unframed

This is a unique woodcut print of a forest and stream in dark eggplant purple offset by a minty light teal greenish blue and pale yellow background. The monotype brings to mind the t...

Highly detailed rendering of a kimono by Patricia A. Pearce (American, b. 1948). The ribbons in this piece have a metallic quality to them. Signed "Patricia A Pearce" in the bottom r...

"Zaida del Rio (Cuba, 1954) 'Untitled ', 2016 digital print on paper 11.1 x 8.3 in. (28 x 21 cm.) ID: DER-205"

"Tarantella" - Geometric Abstract Screen Print with Peach, Red, and Black A minimal geometric abstract screen print in peach, red and black by Michael Hale (British, b. 1934). Prese...

Signed large scale original photograph of the Mediterranean marble quarries in Carrara, Italy, iconic material source of classic Italian art and architec...

Plate 293 from Johanna Goodman's Catalogue of Imaginary Beings Giclée print on Archival Matte Paper with Archival Pigment Ink In 2017 Goodman was awarded the New York State Council...

a series of observations on French master paintings and their opulent gilded frames GILDED DRAMA by Frank Schott 40 x 32 inches / 102 cm x 8...

Mesmerizing large scale photograph from artist's Seascape series, a body of works capturing the tactile surfaces and monochromatic nature of oceanic water and sunsets Mediterranean...

Artist: Gary L. Shaffer (American, 1936-2001) Title: In Between The Houses III Year: 1983 Medium: Collagraph on heavy paper Image size: 26 inches diameter Sheet size: 34 x 27.5 inch...

Original large format still life photograph from Linda Rosewall's series "Flora Italiana", an intensively beautiful body of works exploring the botanical splendor and vibrant color p...

Adan Paredes (Mexico, 1961) 'Untitled 10', 2020 collagraph on paper Guarro Super Alpha 250g. 22.1 x 26.6 in. (56 x 67.5 cm.) Unframed ID: PAD-110 Hand-signed by author

Mesmerizing large format photograph of ethereal floral foliage and sunset horizon, a body of works capturing the tactile surfaces and monochromatic nature and cloudscapes Blue Hour ...

Original large format still life photograph from Linda Rosewall's botany study series "Flora Italiana", an intensely beautiful body of works exploring t...

Over 350 year old antique copper engraving of the architectural floor plans to Sacchetti Palace in Italy by Giovanni Giacomo de' Rossi, 1650....

"Enshoku Sanju-roku Kasen" (Thirty-six Enchanting Flowers) Woodblock on paper Elegant woodblock print by Toyohara Kunuchika (Japanese, 1835-1900). Three women are in talking with each other inside, while a man waits outside holding a bag of some kind. The colors in this piece are rich and saturated, primarily blues, greens, and purple. Mat size: 16"H x 20"W Paper size: 14.75"H x 9.88"W Born in 1835, Toyohara Kunichika grew up in the Kyobashi district of Edo in the midst of merchants and artisans. In 1848, at age 13, he was accepted as an apprentice into the studio of Utagawa Kunisada I...

TOPIARY IV by Frank Schott from a series of photographic observances capturing the antics of urban gardening and striking art of topiaries' green minimalism 60 x 48 inches (152 x 1...

Mesmerizing large format photograph of ethereal water surface and horizon , a body of works capturing the tactile surfaces and monochromatic nature of oc...

Patty deGrandpre’s “Landlocked (Cactus, a million needles)” is an 12.375 x 16 inch unique abstract mixed media print represented on Awagami Bamboo Japanese paper utilizing both print...

Eve Stockton’s woodcut prints are inspired by close observation of nature and her eclectic interest in science. Her woodcuts depict nature at different scales, often simultaneously. ...

Francisco Castro Leñero (Mexico, 1954) "Haz del Viento / Bco / Azul/" from serie "El exilio de los sentidos", 2004 Engraving, aquatint on paper...

Luis Camnitzer (Uruguay, 1937) 'La impresión', 1989 silkscreen on paper 27.6 x 19.7 in. (70 x 50 cm.) Edition of 99 Unframed ID: CAM1205-010-001_10 Hand-signed by author ____________...

large scale conceptual environmental still life photographs playing with viewer's perspective creating individual letters from found objects spelling the word HOPE H-O-P-E by Christian Stoll Incredible details in this body of work: focusing in on this epic photograph work, you will find yourself lost in the artwork's details. Reminiscent of the appropriation artwork of Vik Muniz, Christian Stoll arranges everyday objects to spell letters of the alphabet. Only at close inspection does the viewer realize he/she is looking at an actual photograph, created in camera rather than with digital manipulation. _________________________ Artwork can be installed vertically or horizontally and across multiple walls 4 individual photographs individual artwork size 24 x 24 inches (61 x 61cm) horizontal artwork...

An ink on paper, Nishiki-e and Yoko-e woodblock landscape showing travelers on the Nawate Road in Hiratsuka, circa 1850. Signed in Kanji upper left, "Hiroshige Ga" for Utagawa (Ando)...

Over 150 year old map of early United States of America with Western Districts from 1844. Original hand color. Districts shown include Hurons, Sioux, Mandans, Osages, and Ozark. Note independent Republic of Texas...