Indian Girl Reposing

Extracts from Alfred Jacob Miller’s original text, which accompanied his images of Native Americans, are included below for reference. These words, which shaped how Miller’s contemporaries viewed the watercolors, reveal the racism and sexism embedded in 19th-century exploration and colonization of the western part of what is today the United States.

"Before they are 16 years of age, these girls may be said to have their hey-day, and even if they become the wives or mates of Trappers, are comparatively happy, for they generally indulge them to their hearts' content; should they become however the squaws of Indians, their lives are subjected to the caprices of a tyrant too often, whose ill treatment is the rule and kindness their exception. Nothing so strikingly distinguishes civilized from savage life as the treatment of women. It is in every particular in favor of the former. The scene in the sketch is a sunset view on the prairie,- a Shoshonee girl reclined on a Buffalo robe near a stream, and some lodges and Indians in the distance." A.J. Miller, extracted from "The West of Alfred Jacob Miller" (1837).

In July 1858 William T. Walters commissioned 200 watercolors at twelve dollars apiece from Baltimore born artist Alfred Jacob Miller. These paintings were each accompanied by a descriptive text, and were delivered in installments over the next twenty-one months and ultimately were bound in three albums. Transcriptions of field-sketches drawn during the 1837 expedition that Miller had undertaken to the annual fur-trader's rendezvous in the Green River Valley (in what is now western Wyoming), these watercolors are a unique record of the closing years of the western fur trade.

Inscription

Provenance

Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object.

William T. Walters, Baltimore, 1858-1860, by commission; Henry Walters, Baltimore, 1894, by inheritance; Walters Art Museum, 1931, by bequest.