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George Catlin Most Popular Paintings

The 25 artworks by George Catlin our visitors ask for most, ranked by popularity and presented one by one, with the specification and the price of each hand-painted reproduction.

Edition 2026 · 25 artworks Each artwork painted to order
Linen canvas · Certificate of authenticity · Delivered worldwide George Catlin · 1796 – 1872

Sha-có-pay, The Six, Chief of the Plains Ojibwa

1832 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Sha-có-pay, The Six' captures a Plains Ojibwa chief in 1832. Witness the dignity and power of Native American culture through this iconic portrait – a window to a vanishing world.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 1 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Múk-a-tah-mish-o-káh-kaik, Black Hawk, Prominent Sac Chief

1832 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

Witness the powerful portrait of Black Hawk by George Catlin! This iconic 1832 painting captures Native American dignity & resilience, offering a poignant glimpse into frontier life. Explore this masterpiece today!

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 2 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Há-tchoo-túc-knee, Snapping Turtle, a Half-breed

1834 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

George Catlin's "Há-tchoo-túc-knee" captures a Native American man with striking detail and cultural significance. Explore this powerful portrait from 1834, showcasing Catlin’s pioneering work documenting Indigenous life.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 3 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17728 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Né-hee-ó-ee-wóo-tis, Wolf on the Hill, Chief of the Tribe

1832 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

Discover 'Wolf on the Hill' by George Catlin, a striking 1832 portrait of a Plains Native American chief. Explore rich detail & symbolic significance!

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 4 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Bird

1839 · Smithsonian American Art Museum, Washington, D.C. · original 61 x 73 cm

Experience George Catlin’s ‘Shin ga wás sa, Handsome Bird,’ a Romantic portrait of a Plains Indian warrior capturing the spirit of the American West. This iconic 1839 painting showcases meticulous detail and warm hues, offering a timeless glimpse into Native American culture – discover yours.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 5 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17735 × 29 cm Commission this artwork

Same size as the original$27973 × 61 cm Commission at original size

View on the Missouri, Alluvial Banks Falling in, 600 Miles above St. Louis

1832 · Smithsonian American Art Museum, Washington, D.C. · original 28 x 36 cm

View on the Missouri, Alluvial Banks Falling in, 600 Miles above St Louis

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 6 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17736 × 27 cm Commission this artwork

Same size as the original$17736 × 28 cm Commission at original size

Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe

1834 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

Explore George Catlin's iconic portrait of Choctaw Chief Mó-sho-la-túb-bee, meticulously documented by the artist at Fort Gibson Territory in 1834. Witness a masterful blend of realism and symbolism reflecting Native American culture.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 7 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Tuch-ee, A Celebrated War Chief of the Cherokees

1834 · Virginia Museum of Fine Arts, Richmond

Witness the dignity of Native American life through George Catlin's iconic portrait, 'Tuch-ee.' This 1834 oil painting captures a Cherokee War Chief with vibrant detail and regal attire – a historical masterpiece for art lovers.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 8 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Mounted War Party Scouring a Thicket

1848 · Smithsonian American Art Museum, Washington, D.C. · original 50 x 69 cm

George Catlin’s Romantic masterpiece captures a heroic Plains Indian war party amidst the dramatic prairie landscape—a vivid portrayal of Native American culture during the 1840s. Explore this stunning reproduction and bring history into your home.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 9 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17737 × 27 cm Commission this artwork

Same size as the original$25069 × 50 cm Commission at original size

Say-say-gon, Hail Storm, War Chief

1845 · original 74 x 61 cm

Experience the stern gaze of a Native American war chief in George Catlin's evocative 1845 oil painting; discover this powerful piece of frontier art today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 10 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

Ru-ton-wee-me, Pigeon on the Wing

1844 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Ru-ton-wee-me, Pigeon on the Wing' (1844) captures a Native American woman with striking intensity. Explore this Smithsonian masterpiece and delve into Catlin’s pioneering portraits.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 11 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17728 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Hón-je-a-pút-o, Wife of Bear-catcher

1832 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

George Catlin's 'Hón-je-a-pút-o, Wife of Bear-catcher' captures a Native American woman with striking dignity and detail. Explore this iconic portrait reflecting frontier life and Catlin’s pioneering art.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 12 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17728 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Ball-play of the Choctaw--Ball Up

1850 · Smithsonian American Art Museum, Washington, D.C. · original 65 x 81 cm

Explore George Catlin’s ‘Ball-play of the Choctaw--Ball Up’ (1850). A dynamic oil painting depicting Native American culture, realism & historical significance. Discover this captivating artwork.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 13 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$27735 × 28 cm Commission this artwork

Same size as the original$40381 × 65 cm Commission at original size

Os ce o lá, The Black Drink, a Warrior of Great Distinction

1838 · original 78 x 66 cm

George Catlin’s ‘The Black Drink’ is a striking 1838 portrait of a Shawnee warrior in realistic style. Explore this significant piece of American art, showcasing Native culture & masterful technique.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 14 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$29966 × 78 cm Commission at original size

The Cutting Scene, Mandan O-kee-pa Ceremony

1832 · Denver Art Museum, Denver

This artwork exemplifies Catlin's dedication to preserving Indigenous culture through detailed observation and artistic representation. Its inclusion in his Indian Gallery solidified its place as a cornerstone of American art history.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 15 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17734 × 29 cm Commission this artwork

Wa-másh-ee-sheek, He Who Takes Away; Wa-chésh-uk, War; Mink-chésk, Three Distinguished Young Men

View the most popular artwork of George Catlin ranked #16: Wa-másh-ee-sheek, He Who Takes Away; Wa-chésh-uk, War; Mink-chésk, Three Distinguished Young Men

1834 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

Discover George Catlin’s ‘Wa-másh-ee-sheek,’ a stunning 1834 oil painting depicting Native American life. Admire its realistic style, warm palette & layered textures – a historical treasure!

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 16 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$22729 × 35 cm Commission this artwork

Same size as the original$32760 × 73 cm Commission at original size

Stu mick o súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe

1832 · original 74 x 61 cm

Intense portrait of a Native American chief by George Catlin (1832), capturing the vibrant spirit of the frontier; discover this historical masterpiece today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 17 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

Mah kée mee teuv, Grizzly Bear, Chief of the Tribe

1831 · original 54 x 41 cm

Witness George Catlin's evocative 1831 portrait of a dignified Native American chief, capturing the spirit of a vanishing culture; explore this historical masterpiece today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 18 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17728 × 36 cm Commission this artwork

Same size as the original$21341 × 54 cm Commission at original size

Big Bend on the Upper Missouri, 1900 Miles above St. Louis

1832 · original 28 x 36 cm

Experience the serene grandeur of George Catlin's 1832 Missouri landscape, capturing a wild frontier scene you can own today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 19 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17736 × 28 cm Commission this artwork

Same size as the original$17736 × 28 cm Commission at original size

Né hee ó ee wóo tis, Wolf on the Hill, Chief of the Tribe

1832 · original 74 x 61 cm

Explore George Catlin’s ‘Wolf on the Hill’! A captivating 1832 portrait of a Plains Native American chief in American School style. Admire its rich detail & symbolic significance.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 20 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

Sky se ró ka, Second Chief of the Tribe

1834 · original 74 x 61 cm

Explore George Catlin’s ‘Sky se ró ka,’ a powerful portrait of a Native American chief. Oil on canvas captures dignity & melancholy, showcasing rich detail & romantic realism.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 21 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

La-dóo-ke-a, Buffalo Bull, a Grand Pawnee Warrior

1832 · Smithsonian American Art Museum, Washington, D.C. · original 73 x 60 cm

Experience George Catlin's iconic 'La-dóo-ke-a, Buffalo Bull,' a powerful portrait of a Pawnee warrior from 1832. A stunning oil painting capturing Native American culture and heritage – available as a hand-painted reproduction.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 22 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$27760 × 73 cm Commission at original size

Great Hero, a chief

1845 · original 74 x 61 cm

Intriguing 19th-century portrait of a Native American chief by George Catlin capturing frontier spirit; discover this historical masterpiece today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 23 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

Bread, Chief of the Tribe

1831 · original 54 x 42 cm

Capture the serious gaze of this 1831 portrait by George Catlin; own a piece of American frontier history today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 24 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17728 × 36 cm Commission this artwork

Same size as the original$21542 × 54 cm Commission at original size

Wée sheet, Sturgeon's Head, a Fox Warrior

1832 · original 74 x 61 cm

Witness the stern gaze of a Fox Warrior in George Catlin's 1832 depiction, capturing vanishing frontier life; explore this historic masterpiece today.

Technique: Hand-painted oil on linen canvas
Made: To order, by a trained painter
Popularity: No. 25 of 908 artworks by George Catlin
Delivery: Worldwide, about 5 weeks

from$17729 × 35 cm Commission this artwork

Same size as the original$28161 × 74 cm Commission at original size

The artist

George Catlin

1796 – 1872

Quick facts

Top-ranked workSha-có-pay, The Six, Chief of the Plains Ojibwa
Creative periodsmature period
Works on APS908
Gift suitabilitymother's day, anniversary
Room fitliving room
Best occasionscultural, focal
Died1872
Vibenostalgic

Biography

Early Life and Legal Training

George Catlin was born in 1796 in Wilkes-Barre, Pennsylvania, as the fifth of fourteen children. His early environment was shaped by the harsh realities of the American frontier, specifically through the stories of his mother, Polly Sutton. She had survived being captured during an Indian raid, a fact that provided a constant, visceral connection to the indigenous cultures he would later document. This personal history anchored his interest in the West long before he ever picked up a brush for professional purposes.

His path was not initially aimed at the canvas. At age 17, he entered Litchfield Law School to prepare for a legal career, a direction pushed upon him by his parents. He eventually achieved professional standing when he was admitted to the Bar in 1819. However, the legal profession failed to hold his attention. He practiced law for only two years, finding the courtroom a poor substitute for his actual interests. By the time he abandoned his legal books, the impulse to study art and travel had already become his primary driver.

Expeditions and the Indian Gallery

Catlin’s work derives its weight from the sheer scale of his movement across the American West. During the 1830s, he undertook five extensive expeditions, navigating the Missouri River to reach the territories of the Mandan, Sioux, Blackfeet, and Choctaw. These were not mere sightseeing trips. He moved through these lands to document specific tribal lives, collecting both paintings and physical artifacts. This massive accumulation of visual and material evidence eventually formed his Indian Gallery, a collection exceeding 500 paintings.

The scale of this collection is what makes his output historically significant. He did not simply paint from memory; he gathered the results of his travels into a singular, massive assembly. This effort to compile a comprehensive record of the frontier was later expanded by his travels through South and Central America between 1852 and 1857. His focus remained on the ethnographic reality of the people he encountered, prioritizing the documentation of their customs and appearances over mere landscape painting.

Artistic Style and Documentation

Catlin’s approach was driven by a specific, urgent necessity: the documentation of a way of life he believed was vanishing. He did not settle for mere caricature or the superficial stereotypes common in the 19th century. Instead, he focused on the individual, attempting to capture the specific dignity of tribal leaders and the kinetic energy found in traditional ceremonies. His brushwork prioritized meticulous detail, ensuring that the textures of ceremonial regalia and the specificities of daily life were recorded with ethnographic precision. This was a deliberate attempt to preserve the essence of these cultures before westward expansion irrevocably altered them.

The visual impact of his work relies on a heavy use of color and detailed environmental context. He rarely painted subjects in isolation; instead, he placed them within elaborate backgrounds that provided essential situational information. These settings often included specific landscapes, tipis, or ceremonial objects that grounded his subjects in their actual surroundings. By including these elements, he moved beyond simple portraiture to create a comprehensive visual record of the American frontier. His ability to render the atmosphere of a scene—from the dust of a prairie to the structure of a camp—transformed his paintings into historical evidence rather than mere aesthetic exercises.

Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
Ball-play of the Choctaw--Ball Up (1850)

Key Works and Notable Paintings

Catlin’s output functions as a visual record of specific, lived moments rather than mere portraiture. His 1834 depiction of Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe captures a leader with an unwavering gaze, projecting authority through a direct, unadorned presence. Similarly, Ball-play of the Choctaw moves away from static posing to document the kinetic energy of a traditional game. These works provide the granular detail necessary to understand tribal social structures and communal activities.

The artist also focused on the intersection of people and their environment. Prairie Meadows Burning records a controlled burn alongside accompanying riders, capturing a specific ecological and social practice. His depiction of Pipestone Quarry, Coteau Des Prairies identifies a site of profound spiritual significance for many tribes. Even his more intimate or unusual subjects carry weight; Oó-je-en-á-he-a, Woman Who Lives in a Bear, painted about 1832, offers a glimpse into a specific cultural narrative, while Little Wolf (Shon-ta-ye-ga), executed in 1846, remains a significant piece of his later documentation.

Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
Little Wolf (Shon-ta-ye-ga) (1846)

Publications and Touring

Catlin’s efforts to secure a permanent home for his Indian Gallery required more than just visual evidence; they demanded a public presence. He took his collection on tour through major European centers, exhibiting in London, Paris, and Berlin during the 1840s and 50s. These exhibitions were not passive displays. He accompanied his paintings with public lectures, using his personal recollections of life among the American Indians to provide a spoken context to the images. This combination of sight and speech was a calculated attempt to make the realities of the frontier tangible to audiences far removed from the Missouri River.

His written work provided the intellectual framework for his visual documentation. In 1841, he published Manners, Customs, and Condition of the North American Indians, a text that attempted to codify the observations he had gathered during his expeditions. Later, in 1868, he released Last Rambles amongst the Indians of the Rocky Mountains and the Andes. These publications were not merely travelogues; they were attempts to fix a specific, vanishing social order into a permanent historical record. He used the written word to bolster the legitimacy of his paintings, ensuring his observations survived even when his financial stability did not.

Later Years and Death

Financial instability defined Catlin’s final decades. Despite his efforts to secure a national legacy for his collection, the artist spent much of his later life struggling to recoup his investments. In a pragmatic attempt to recover funds, he recreated over 400 paintings into a smaller "cartoon collection." This was a calculated move to monetize his life's work, yet it failed to provide the substantial returns he required for stability.

The struggle for solvency continued until his death. George Catlin died on December 23, 1872, in Jersey City, New Jersey. He was buried in Green-Wood Cemetery, Brooklyn. His passing marked the end of a life spent documenting a frontier that was rapidly being replaced by the very expansion he had predicted.

Legacy and Historical Significance

Catlin’s importance lies in his role as a primary visual source. He was the first white man to depict Plains Indians within their native territory, providing a direct record of life before the full impact of westward expansion. His paintings offer a glimpse into cultures that were frequently misrepresented or ignored by the mainstream narratives of the nineteenth century. Rather than relying on secondhand accounts, his work captures the specificities of tribal customs and social structures through direct observation.

The historical value of his output is concrete. His documentation provides insights into religious beliefs and ceremonial traditions that might otherwise have been lost to history. This archival quality has earned him significant recognition in later years. He was inducted into the National Rivers Hall of Fame in 2001 and the Luzerne County Arts & Entertainment Hall of Fame in 2023. These honors acknowledge the weight of his contribution to American historical and cultural records.

Where to See the Works Today

Catlin’s visual record is scattered across several major institutions, making a comprehensive study of his output a matter of visiting specific collections. The most significant concentration of his work resides in Washington, D.C. The Smithsonian American Art Museum holds 25 of his paintings, providing the most substantial look at his ethnographic documentation. Nearby, the National Gallery of Art in Washington also maintains one of his works in its collection.

Beyond the capital, his presence is felt in other regional museums that hold individual pieces. The Denver Art Museum contains one work, while the Virginia Museum of Fine Arts in Richmond holds another. These dispersed holdings reflect the fragmented nature of his original Indian Gallery and the difficulty he faced in securing a single permanent home for his collection during his lifetime.

On sáw kie, The Sauk, in the Act of Praying (about 1830)
Mó-sho-la-túb-bee, He Who Puts Out and Kills, Chief of the Tribe (1834)
Ball-play of the Choctaw--Ball Up (1850)

Questions & Answers

Can I browse George Catlin's works by movement?

The movements George Catlin worked in can be seen on the artist's All Movements page, which groups the artworks by movement.

Can I explore George Catlin's works by keyword?

The By Keywords page of George Catlin groups the artist's artworks by their keywords.

How did George Catlin's art evolve over time?

A chronological account of George Catlin's work is available on the artist's Chronicle page, where the artworks pass in order of creation, chapter by chapter.

By the WikiOO.org Editorial Team Updated Oct. 14, 2026

Collector's quiz

Where was George Catlin born?
What was George Catlin's profession before he became an artist?
What was the name of the collection of over 500 paintings created by Catlin?
Which of these tribes did Catlin visit during his expeditions?
In which city did Catlin's wife and youngest son die in 1845?

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