| Preview | Description | Notes
  | Content | Updated by |
|---|---|---|---|---|
 | Emeline Willet ca. 1853 Smithsonian American Art Museum Washington, D.C. | Unrated | Anonymous | |
 | International Indian Council (Held At Tallequah, Indian Territory, In 1843) 1843 Smithsonian American Art Museum Washington, D.C. |  In the mid-nineteenth century, the United States government moved tribes from the Southeast to Indian Territory, which later became Oklahoma and Kansas. In 1843, Cherokee principal chief John Ross called a meeting of the tribes at Tallequah (also spelled Tahlequah) to “renew their ancient customs, and to revive their ancient alliances.” Hundreds... | Unrated | Anonymous |
 | Ko-rak-koo-kiss, A Towoccono Warrior 1844 Smithsonian American Art Museum Washington, D.C. | This highly staged and idealized image shows the warrior posed dramatically on his stallion, which, suspended in the air, looks more like a rocking horse than a live animal. | Unrated | Anonymous |
 | Osage Scalp Dance 1845 Smithsonian American Art Museum Washington, D.C. | Melodramatic tales of scalping were popular in Europe and the United States throughout the nineteenth century. John Mix Stanley’s operatic scene shows a villain wielding a war club over a desperate woman's head. A hero who wears a presidential peace medal blocks the club with his spear. By the time Stanley painted this canvas, the government had... | Unrated | Anonymous |
 | The Trial Of Red Jacket 1869 Smithsonian American Art Museum Washington, D.C. | Red Jacket (1758-1830) was a famous leader of the Seneca tribe of the Iroquois Nation. In this ambitious painting, John Mix Stanley showed the chief defending himself against a charge of witchcraft. Under his white robe is the red jacket given to him by a British officer for his help as a messenger during the American Revolution. Stanley trained as a... | Unrated | Anonymous |
 | Return Of The Hunting Party 1855 Stark Museum of Art Orange, TX | Typically, Stanley portrayed a moment after an event, as is seen in this painting of three Indians who have successfully killed a deer, stopped to rest and are engaged in the rite of smoking Kinnikinnick as a way of giving thanks to the animals they hunt for sustenance. | Unrated | Anonymous |
 | Gambling For The Buck 1867 Stark Museum of Art Orange, TX | This highly detailed representation of a card game, whose winner will take home the dead buck in the foreground, reveals John Mix Stanley's interest in photography. This scene of everyday life is orchestrated to provide variety in costume and an almost archaeological accounting of artifacts. The elevated, stage like platform and the hanging skins... | Unrated | Anonymous |
 | View In The Sierra Mimbres 1847 Stark Museum of Art Orange, TX | This mini-exhibit explores landscape imagery resulting from the United States War with Mexico of 1846-1848. Sketches in oil and illustrations in rare books document additions to the United States territory. One surveyor wrote that peculiarities of the arid plains and deserts seem to “fit them for the habits of the camel.” | Unrated | Anonymous |
 | Kidnapped ca. 1853 Denver Art Museum Denver, CO | Unrated | Anonymous | |
 | Oregon City On The Willamette River ca. 1850-1852 Amon Carter Museum of American Art Fort Worth, TX | Description: View looking down from a plateau high above the sprawling town of Oregon City along the banks of the Willamette River. In the foreground, a Native American couple stands on a rocky hillside, their attention directed away from the activity taking place in the town below them. | Unrated | Anonymous |
- John Mix Stanley
