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Title | Creator | Date Made Visible | None
Isaac McCoy
A portrait of missionary Reverend Isaac McCoy at age 47. Copied from a painting. Born the son of a Baptist preacher in Uniontown, Pennsylvania, in 1784, McCoy spent his youth in Louisville, Kentucky. He married at age nineteen and moved to the Indiana Territory to preach in communities of settlers, French traders, and Indians. While there, McCoy witnessed what he considered the degradation and suffering of tribes at the hands of whites. He was one of the first to suggest the removal of Eastern tribes to the West. McCoy achieved mild success operating missions in Michigan and Indiana Territory, and training future Kansas missionaries, such as Jotham Meeker, Johnston Lykins, and Robert Simmerwell. He spent progressively more time in Washington D.C., lobbing for the establishment of reservations in the future states of Kansas and Oklahoma. McCoy found sympathy for his proposals, and in 1830 personally surveyed future Indian lands in what would become Kansas. The following year McCoy moved his family to Westport, Missouri, near present-day Kansas City.
previewThomas H. Webb to Eli Thayer
Webb, Thomas H. (Thomas Hopkins), 1801-1866
Webb, writing from Boston, Massachusetts, was the secretary of the Massachusetts Emigrant Aid Company. He informed Eli Thayer, the organizer of the company, of his concerns about fund raising efforts among the Massachusetts business elite.
previewJotham Meeker to Rev. S. Peck
Meeker, Jotham, 1804-1855
Jotham Meeker, misionary and printer, arrived in Kansas in 1833 and set up a printing press at Shawnee Baptist Mission. Meeker joined the Ottawa Indians in 1837 and founded a mission on the Marais des Cygnes River where present day Ottawa stands. The Ottawa Indians began moving to Kansas from Ohio in the early 1830s. Meeker opened his letter with personal matters and them turned to affairs concerning the Indians in Kansas. He talked about cholera, which killed many Indians in the summer of 1849.
previewNo-tin-no to D. D. Mitchell
No-tin-no
No-tin-no, a leader of the Ottawa nation, wrote this letter to the Superintendent of Indian Affairs, D. D. Mitchell, concerning a shipment of farming implements that the government had promised to the tribe. The Ottawa were frustrated by the delay, and No-tin-no stated that if he did not hear back from Mitchell, he would write to the President of the United States himself. The letter was dictated to Jotham Meeker, a missionary and printer at the Ottawa Baptist Mission near present-day Ottawa, Kansas.
previewTen-squat-a-way or Tenskwatawa, the Shawnee Prophet
Catlin, George, 1796-1872
Tenskwatawa, whose name means "open door," was a Shawnee Indian from present-day Ohio who fiercely opposed Indian removal. Tenskwatawa was a revered religious figure among the Shawnee, and he advocated a return to Indian customs and preached that performing certain sacred rituals would make the Shawnee impervious to the white man's bullets. He also denounced drunkenness and the drinking of whiskey. He worked to enlist support for his brother Tecumseh's confederacy that would unite Indian tribes to fight against the U. S. government and drive white settlers out of the Old Northwest (present-day Indiana, Illinois, and Ohio). Tecumseh's uprising failed, and Tenskwatawa and other Shawnees were eventually removed to Indian Territory in present-day Kansas. This portrait by famed artist George Catlin was painted during one of Catlin's visits to Kansas in 1831. The portrait shows Tenskwatawa holding a medicine stick and a sacred string of beans; it also shows where he was accidentally blinded by an arrow. The original painting is housed in the Smithsonian Museum of Natural History.
previewCelebrated violet waltz varied for the guitar
Worrall, Henry, 1825-1902
Guitarist Henry Worrall published his solo instrumental "Violet Waltz" with W.C. Peters & Sons of Cincinnati, Ohio. This copy comes from Worrall's personal collection. The many penciled notations included throughout this copy are presumed to be Worrall's. In the early twentieth century, Worrall's popular guitar instrumentals played a key role in the development of the guitar styles of southern rural folk musicians and country and blues musical idioms. Worrall moved to Topeka, Kansas, in 1868 where he died in 1902.
previewChimes of E
Worrall, Henry, 1825-1902
This document is Henry Worrall's original manuscript copy of a solo guitar instrumental he called "Chimes of E." This piece is presumed to be an original composition or arrangement by Worrall. In the early twentieth century, Worrall's popular guitar instrumentals played a key role in the development of the guitar styles of southern rural folk musicians and country and blues musical idioms. Worrall moved to Topeka, Kansas, in 1868 where he died in 1902.
previewSebastopol
Worrall, Henry, 1825-1902
A manuscript version of guitarist Henry Worrall's celebrated guitar instrumental "Sebastopol." Worrall initially published "Sebastopol" in the 1850s with W. C. Peters and Sons of Cincinnati, Ohio. Included among Worrall's surviving music manuscripts are these manuscript editions of the introduction and finale to "Sebastopol." In the early twentieth century, Worrall's popular guitar instrumentals played a key role in the development of the guitar styles of southern rural folk musicians and country and blues musical idioms. Worrall moved to Topeka, Kansas, in 1868 where he died in 1902.
previewUntitled and Jack
Worrall, Henry, 1825-1902
This document is Henry Worrall's original manuscript music for two solo guitar instrumentals, one untitled and one titled "Jack." In the early twentieth century, Worrall's popular guitar instrumentals played a key role in the development of the guitar styles of southern rural folk musicians and country and blues musical idioms. Worrall moved to Topeka, Kansas, in 1868 where he died in 1902.
previewHenry Worrall with his guitar
Grigs, A. D.
Guitarist and artist Henry Worrall moved to Topeka, Kansas, in 1868 and died there in 1902. This photograph shows a youthful Worrall standing with his guitar. The photo was probably taken during Worrall's residence in Ohio in the 1850s or 1860s and reproduced later in Topeka by A. D. Grigs, as the border bears his imprint. Worrall's celebrated solo guitar instrumentals "Sebastopol" and "Violet Waltz" enjoyed great popularity in the nineteenth century. In the early twentieth century, Worrall's popular solo guitar pieces played a key role in the development of the guitar styles of southern rural folk musicians and country and blues musical idioms.
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