Ten-sqúat-a-way, The Open Door, Known as The Prophet, Brother of Tecumseh

George Catlin, Ten-sqúat-a-way, The Open Door, Known as The Prophet, Brother of Tecumseh, 1830, oil on canvas, Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr., 1985.66.279
George Catlin, Ten-sqúat-a-way, The Open Door, Known as The Prophet, Brother of Tecumseh, 1830, oil on canvas, 2924 in. (73.760.9 cm), Smithsonian American Art Museum, Gift of Mrs. Joseph Harrison, Jr., 1985.66.279
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Artwork Details

Title
Ten-sqúat-a-way, The Open Door, Known as The Prophet, Brother of Tecumseh
Date
1830
Location
Not on view
Dimensions
2924 in. (73.760.9 cm)
Credit Line
Gift of Mrs. Joseph Harrison, Jr.
Mediums
Mediums Description
oil on canvas
Classifications
Subjects
  • Portrait male — Prophet
  • Portrait male — Open Door
  • Indian — Shawnee
Object Number
1985.66.279

Artwork Description

“The ‘Shawnee Prophet,’ is perhaps one of the most remarkable men, who has flourished on these frontiers for some time past. This man is brother of the famous Tecumseh, and quite equal in his medicines or mysteries, to what his brother was in arms; he was blind in his left eye, and in his right hand he was holding his ‘medicine fire,’ and his ‘sacred string of beads’ in the other. With these mysteries he made his way through most of the North Western tribes, enlisting warriors wherever he went, to assist Tecumseh in effecting his great scheme, of forming a confederacy of all the Indians on the frontier, to drive back the whites and defend the Indians’ rights; which he told them could never in any other way be protected . . . [he] had actually enlisted some eight or ten thousand, who were sworn to follow him home; and in a few days would have been on their way with him, had not a couple of his political enemies from his own tribe... defeated his plans, by pronouncing him an imposter . . . This, no doubt, has been a very shrewd and influential man, but circumstances have destroyed him . . . and he now lives respected, but silent and melancholy in his tribe.” Records show that the Prophet was living west of the Mississippi by 1830, which suggests that Catlin painted this portrait at Fort Leavenworth (in today’s Kansas) on his earliest journey to the West. (Catlin, Letters and Notes, vol. 2, no. 49, 1841, reprint 1973; Truettner, The Natural Man Observed, 1979)

Works by this artist (4 items)

Pierre Cecile Puvis De Chavannes, Inspiration Chretienne, ca. 1887-1888, oil on paper mounted on canvas, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.84
Inspiration Chretienne
Dateca. 1887-1888
oil on paper mounted on canvas
Not on view
Pierre Cecile Puvis De Chavannes, Recolte des Pommes, ca. 1890, oil on canvas, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.87
Recolte des Pommes
Dateca. 1890
oil on canvas
Not on view
Pierre Cecile Puvis De Chavannes, L' Automne, ca. 1864, oil on canvas, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.86
L’ Automne
Dateca. 1864
oil on canvas
Not on view

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Unidentified (Puerto Rican), Da. Barbara Vizcarrondo de Elzaburu, 19th century, watercolor on ivory, Smithsonian American Art Museum, Teodoro Vidal Collection, 1996.91.20
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Artist
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George Catlin, Portrait of Mary Catlin, ca. 1827, watercolor on ivory, Smithsonian American Art Museum, Gift of Mr. and Mrs. David C. Morse, 1984.139.2
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Dateca. 1827
watercolor on ivory
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Unidentified, Portrait of a Gentleman, ca. 1805, watercolor on ivory, Smithsonian American Art Museum, Bequest of Mary Elizabeth Spencer, 1999.27.59.1
Portrait of a Gentleman
Artist
Unidentified
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watercolor on ivory
Not on view