Lot 84
Lot 84
UNKNOWN PHOTOGRAPHER

Maungwudaus (George Henry 1811-1888)

Price Realised USD 21,420
Estimate
USD 2,000 - USD 3,000
Loading details
UNKNOWN PHOTOGRAPHER

Maungwudaus (George Henry 1811-1888)

Price Realised USD 21,420
Price Realised USD 21,420
Details
UNKNOWN PHOTOGRAPHER
Maungwudaus (George Henry 1811-1888)
sixth-plate daguerreotype, cased
Brought to you by
Lillian JonsonsJunior Specialist
A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

Lot Essay


Maungwudaus, born George Henry around 1811 in the region now known as Ontario, Canada, was an Anishinaabe (Ojibwe) man whose life journey encompassed roles as a missionary, performer, writer, and cultural ambassador. His experiences reflect the challenges and opportunities faced by Indigenous individuals navigating colonial societies in the 19th century. Known for his ability to move between different cultural worlds, Maungwudaus left a significant mark in religious, political, and artistic arenas on both sides of the Atlantic.

Henry was born into an Ojibwe family and was baptized by Methodist missionaries, taking on the Christian name George Henry. He received a European-style education and became fluent in both English and Ojibwe, which positioned him as a valuable interpreter. During these early years, he was a strong proponent of Christian missionary work among Indigenous communities. However, he ultimately broke with the Church and began publicly identifying with his Anishinaabe heritage. This decision marked a turning point in his life, as he shifted from religious ministry to cultural performance and advocacy. He reclaimed his Indigenous name—Maungwudaus, meaning “Great Hero” or “Great Voice”—signaling a pivotal transformation in his identity and mission.

Following his departure from the Church, Maungwudaus organized and led a troupe of Ojibwe performers on a cultural tour of Europe. These performances, which took place in England, France, and Germany during the mid-1840s, were part theatrical display and part cultural education. Dressed in traditional regalia, the troupe demonstrated dances, songs, and ceremonies while Maungwudaus lectured audiences on Ojibwe culture, language, and beliefs. Although framed by some European observers as exotic exhibitions, these performances were, for Maungwudaus, a form of Indigenous self-representation and resistance to colonial narratives.

The sixth-plate daguerreotype on offer depicts Maungwudaus in full Ojibwe regalia—including headdress and bear claw necklace—and holding a bow and arrow.
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