Mandan Dandies: Trade, Intimacy and Ornamental Excess in a Destroyed 1832 Portrait by George Catlin

Abstract This essay considers the role played by economics and sexuality in the development of the imaginary of US settler colonialism by considering George Catlin’s destroyed 1832 portrait of an anonymous Mandan ‘dandy’. Catlin’s representation of Indigenous dandies likely informed Charles Baudelaire’s account of the dandy as an avatar of the transition to modernity, but during the gay and Indigenous liberation movements of the 1970s, the Mandan dandy was reclaimed as evidence of pre-colonial queer sexualities. Synthesising these conceptions, the essay argues that this figure illuminates the material conditions of modernity in the fur trade: an unstable assemblage of contradictory Indigenous and Euro-American systems of economic exchange, political power and sexual intimacy. The dandy figures a form of queerness that was conceived as an effect of these socioeconomic conditions, which Catlin condemned as perverse: a queerness that lay at the foundations of settler colonialism rather than in opposition to it.