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Smithsonian Institution  Search this

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YouTube Videos

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2008-05-23T19:48:41.000Z

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Education  Search this

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Creator:

National Museum of the American Indian  Search this

Type:

Lectures

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2014-04-30T13:56:21.000Z

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Education  Search this

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Native Americans;American Indians  Search this

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National Museum of the American Indian

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National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2016-11-17T15:43:57.000Z

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Education  Search this

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Native Americans;American Indians  Search this

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Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

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edanmdm:yt_Npi_Nrw-B9o

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

Lectures

YouTube Videos

Uploaded:

2014-10-16T19:49:21.000Z

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Education  Search this

Topic:

Native Americans;American Indians  Search this

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Data Source:

National Museum of the American Indian

YouTube Channel:

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EDAN-URL:

edanmdm:yt_bYzGB0MTBX0

Artist:

Asah, Spencer, approximately 1908-1954  Search this

Auchiah, James, 1906-1974  Search this

Mopope, Stephen, 1898-1974  Search this

Hokeah, Jack, 1902-1969  Search this

Smoky, Lois, 1907-1981  Search this

Tsatoke, Monroe, 1904-1937  Search this

Collector:

Jacobson, Oscar Brousse, 1882-1966  Search this

Extent:

24 Paintings (watercolor applied by pochoir, 89 x 72 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Paintings

Ledger drawings

Date:

1929

Scope and Contents:

Includes twenty-four prints illustrating dancers, figures in traditional attire, and ceremonial events. Each sheet is numbered in the upper right corner, with numbers 1 through 30, complete except for 3, 5, 7, 22, 26, and 29. The prints are from a portfolio containing 30 plates and an accompanying text by Jacobson published by C. Szwedizicki, Nice, France. There are related prints in the Acee Blue Eagle collection, including the original painting on which Plate 27 is based. The painters are the so-called Kiowa Five, renamed the Kiowa Six: Jack Hokeah, Spencer Asah, Bougetah (Lois) Smoky, Stephen Mopope, and Monroe Tsatoke. For this set of drawings, an electrostatic copy of the text as published in 1979 with an essay by Jamake Highwater and the Jacobson text in French with an added translation in English has been added (Oscar Brousse Jacobson, Kiowa Indian Art: Watercolor Paintings in Color by the Indians of Oklahoma) with an introductory essay by Jamake Highwater, Bell Editions, Santa Fe, ca. 1979). The locations of the missing art and the original 1929 text and covers are not known.

Biographical / Historical:

The Kiowa Five were a group of painters who earned national and international acclaim during the early twentieth century. The group actually consisted of six individuals, Spencer Asah, Jack Hokeah, Stephen Mopope, Monroe Tsatoke, Lois Smoky, and James Auchiah. A number of the artists attended St. Patrick's Mission School in Anadarko, Oklahoma, where they received art instruction from Sister Olivia Taylor. Susan Peters, a government field matron, also took an interest in the young artists' work. She arranged for an artist from Chickasha, Mrs. Willie Baze Lane, to provide art lessons. Eventually Ms. Peters persuaded Dr. Oscar Jacobson, head of the school of art at the University of Oklahoma, to provide additional training for the artists. In 1926, Asah, Hokeah, Tsatoke, and Mopope arrived at the University. The artists were not officially enrolled, but they received special instruction from Jacobson and Dr. Edith Mahier, another professor in the school of art. In January 1927, Lois Smoky, a young Kiowa woman, arrived to study with the other artists. In spring, the artists were compelled to return home to attend to agricultural pursuits. They returned in the fall, accompanied by James Auchiah, the sixth and final student. Shortly thereafter, Lois Smoky withdrew from the program and returned home. Dr. Oscar Jacobson arranged for the Kiowa artists' paintings to be exhibited in 1928 at the First International Art Exposition - formally titled the 1928 International Art Congress (of the International Federation for Art Education, Drawing and Art Applied to Industries)- in Prague, Czechoslovakia. In 1929, Kiowa Art, a portfolio of the artists' paintings was published in France. For additional information on these artists, see: Jeanne O. Snodgrass, American Indian Painters - A Biographical Directory, Museum of the American Indian Heye Foundation, 1968, and John Anson Warner, "Native American Painting in Oklahoma: Continuity and Change." The Journal of Intercultural Studies, 23: 14-129, 1996.

Stephen Mopope also known as Qued Koi (Painted Robe) was born on August 27, 1898 near Red Stone Baptist Church on the Kiowa Reservation. He attended St. Patrick's Mission School in Anadarko, Oklahoma. He died on February 3, 1974.

Spencer Asah also known as Lallo (Little Boy) was born between 1905 and 1910 near Carnegie, Oklahoma. He attended various government Indian schools and St. Patrick's Mission School, Anadarko, Oklahoma. He died in 1954.

James Auchiah was born in 1906 near Medicine Park, Oklahoma. He attended St. Patrick's Mission School in Anadarko, Oklahoma. He died on December 28, 1974.

Jack Hokeah was born in 1902 in western Oklahoma. He attended St. Patrick's Mission School in Anadarko, Oklahoma. He died on December 14, 1969.

Monroe Tsatoke also known as Tsa To Kee (Hunting Horse) was born September 29, 1904 at Saddle Mountain, Oklahoma. He attended Rainy Mountain Indian School near Carnegie, Oklahoma and Bacone College. He died on February 3, 1937.

Lois Smokey also known as Bougetah (Of the Dawn) was born in 1907, near Anadarko, Oklahoma. She died on February 1, 1981.

Local Numbers:

NAA MS 7536

NAA INV 09064600-09066900

Local Note:

Information for the collection level record was drawn from Oscar Brousse Jacobson, Kiowa Indian Art: Watercolor Paintings in Color by the Indians of Oklahoma (with an introductory essay by Jamake Highwater), Bell Editions, 1979.

Album Information:

MS 7536 000

Topic:

Language and languages -- Documentation  Search this

Genre/Form:

Ledger drawings

Citation:

Manuscript 7536, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS7536

See more items in:

MS 7536 Pochoir prints of ledger drawings by the Kiowa Five

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms7536

Collector:

Hazen, William Babcock, 1830-1887  Search this

Extent:

32 Drawings (17 leaves, graphite and colored pencil, 11 x 19 cm.)

Culture:

Sahnish (Arikara)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Date:

ca. 1875

Scope and Contents:

Bound volume of drawings containing pictures of individual and scenes of warfare, hunting, domestic activities, and ceremony. One of two similar handbound volumes received as part of the Hazen collection (see also MS 154064A).

Biographical / Historical:

William Babcock Hazen (1830-1887) was born in Vermont and spent his boyhood in Ohio. In 1855, he graduated from the U.S. Military Academy ranked Twenty-eight in his class. Prior to the Civil War, Hazen served with the Fourth and Eighth Infantry regiments, earning distinctions in the field while fighting against Indians in Oregon and southwestern Texas. Hazen went on to serve in the Civil War, where he fought in the Battles of Shiloh and Bentonville. After the war, he served as Inspector General of the Department of the Platte and did a tour at Fort Leavenworth, Kansas. In 1869, he was stationed at Fort Sill, Oklahoma and later at Fort Smith, Arkansas, becoming Superintendent of Indian Affairs in 1870. While serving in this capacity, Hazen worked with various tribes in Oklahoma, including the Comanches and the Creeks. After publicly criticizing the role of the U.S. military in the Indian Wars, Hazen was posted to Fort Buford in Dakota Territory, where he stayed off and on from 1875 through 1880. For more information on William Hazen see Great Plains Command: William B. Hazen in the Frontier West by Marvin E. Kroeker, 1976, Norman: University of Oklahoma Press.

Local Numbers:

NAA MS 154064 B

Local Note:

Original identification of these books as Sioux has been changed as the style of dress, body decoration, and hair are not consistent with that tribe. They are consistent with an identification as Arikara made by Candace Greene in 2004. During the 1870s many Arikara men enlisted as scouts with the US Army and a number were posted at Fort Buford during the time that the collector was there. Both books contain pictures of friendly encounters with Army officers, and one (08510521) depicts an Indian scout in uniform.

Place:

United States Dakota Territory Fort Buford.

United States South Dakota Fort Buford

Album Information:

MS 154064B 000

Provenance:

Hazen, Mildred McLean

Genre/Form:

Ledger drawings

Citation:

Manuscript 154064B, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS154064B

See more items in:

Book of Arikara drawings by anonymous artist

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms154064b

Collector:

Hazen, William Babcock, 1830-1887  Search this

Extent:

36 Drawings (19 leaves, graphite, colored pencil, and crayon, mounted on paper, 12 x 20 cm.)

Culture:

Sahnish (Arikara)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Date:

ca. 1875

Scope and Contents:

Bound volume of drawings containing pictures of individual men and animals, and scenes of warfare and ceremony. One of two similar handbound volumes received as part of the Hazen collection (see also MS154064B).

Biographical / Historical:

William Babcock Hazen (1830-1887) was born in Vermont and spent his boyhood in Ohio. In 1855, he graduated from the U.S. Military Academy ranked Twenty-eight in his class. Prior to the Civil War, Hazen served with the Fourth and Eighth Infantry regiments, earning distinctions in the field while fighting against Indians in Oregon and southwestern Texas. Hazen went on to serve in the Civil War, where he fought in the Battles of Shiloh and Bentonville. After the war, he served as Inspector General of the Department of the Platte and did a tour at Fort Leavenworth, Kansas. In 1869, he was stationed at Fort Sill, Oklahoma and later at Fort Smith, Arkansas, becoming Superintendent of Indian Affairs in 1870. While serving in this capacity, Hazen worked with various tribes in Oklahoma, including the Comanches and the Creeks. After publicly criticizing the role of the U.S. military in the Indian Wars, Hazen was posted to Fort Buford in Dakota Territory, where he stayed off and on from 1875 through 1880. For more information on William Hazen see Great Plains Command: William B. Hazen in the Frontier West by Marvin E. Kroeker, 1976, Norman: University of Oklahoma Press.

Local Numbers:

NAA MS 154064 A

USNM ACC 25748

Local Note:

Original identification of these books as Sioux has been changed as the style of dress, body decoration, and hair are not consistent with that tribe. They are consistent with an identification as Arikara made by Candace Greene in 2004. During the 1870s many Arikara men enlisted as scouts with the US Army and a number were posted at Fort Buford during the time that the collector was there. Both books contain pictures of friendly encounters with Army officers, and one (08510521) depicts an Indian scout in uniform.

Place:

United States Dakota Territory Fort Buford.

United States South Dakota Fort Buford

Album Information:

MS 154064A 000

Provenance:

Hazen, Mildred McLean

Genre/Form:

Ledger drawings

Citation:

Manuscript 154064A, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS154064A

See more items in:

Book of Arikara drawings by anonymous artist

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms154064a

Extent:

171 Drawings (25 leaves, graphite, watercolor, and ink on card stock, 28 x 22 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Pictographs

Ledger drawings

Date:

1825-1921

Scope and Contents:

The calendar consists of 171 pictographs on heavy card stock. Each page contains two to four pictographs, arranged top to bottom and left to right. The calendar entries cover the period 1825 - 1921. A red diamond is used to signify winter and a green or yellow bar to signify summer. A depiction of the forked Medicine Lodge pole often accompanies the symbol for summer. No information is known about the original production of this calendar. However, the pictures are a close match to a tracing that Wilbur S. Nye made in the 1920s of a calendar on cloth belonging to Jimmy Quitone, although arranged in a different format, and this may be considered a variant of the Quitone calendar. Nye's tracing is in the collection of the Fort Sill Museum in Oklahoma together with his notes about the version that he examined. He recorded that while Quitone owned the calendar when he made the tracing, it had been produced by Johnny Anko and Hauvahte. Huvahte may be an alternate rendering of Habate, or Haba. Nye believed that the calendar was destroyed when the Quitone home burned in the 1930s.

Biographical / Historical:

Jimmy Quitone (Wolf Tail) was one of the elders from whom W.S. Nye recorded much information about Kiowa history. According to Nye, he was the father of George Hunt and Guy Quitone. Hugh Corwin provides anecdotal information about Quitone, including a note that he died in 1956 at the age of 101. For additional biographical information see: W.S. Nye, Bad Medicine and Good: Tales of the Kiowa, University of Oklahoma, 1962. Hugh Corwin, The Kiowa Indians Their History and Life Stories, 1958.

Local Numbers:

NAA MS 2002-27

Local Note:

The collection record is based on information presented in Candace S. Greene and Russell Thornton, The Years the Stars Fell: Lakota Winter Counts at the Smithsonian, University of Nebraska Press, in press.

Album Information:

MS 2002-27 000

Genre/Form:

Pictographs

Ledger drawings

Citation:

Manuscript 2002-27, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2002-27

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms2002-27

Extent:

20 Drawings (18 leaves, graphite and colored pencil, 17 x 20 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Date:

1875-1878

Scope and Contents:

Twenty drawings in a commercial exercise book that has been rebound. The book had been sewn into a second cover prior to its acquisition by the Smithsonian. This second cover was removed when the book was rebound. It is still with the manuscript. The drawings depict hunting, courtship, dance, social gatherings, Indian scouts, mounted and dismounted warriors, and part of the Kiowa Sun Dance. The inside of the front cover is inscribed, "Capt Pratt USA", "By the Indians", "By the Indians incarcerated in Fort Marion St. Augustine in 1876", "Engaged in the Custer Massacre", "Care of Capt Pratt in charge assisted by the following ladies Mrs Linethurst, Mrs Gibbs - Mrs S' Mother St Augustine Mrs Kingsly Gibbs aunt Mrs Valentine Phila Miss Reed", "Carlisle was the outcome of Capt Pratt's efforts assisted by Mrs Kingsly Gibbs of St Augustine". The back cover is inscribed "Works of the Indians while in prison in Fort Marion St Augustine Florida/ after the Custer Massacre in care of Capt Pratt/ The founder of Carlisle/ These Indians finally taken there for housing and taming/ by the Government/ under the care of Capt Pratt USA". In addition to the inscription, the back cover bears the image of a man wearing a breechcloth, which was scratched into its surface. The name "ZOTOM" appears in stencil block letters on the back cover and the inside of the front cover. Although Zotom was a noted Kiowa artist, it is not clear that he is responsible for the drawings. Candace Greene notes that they are unlike his later work and early documented examples of his drawing style have not been identified.

Biographical / Historical:

Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.

Local Numbers:

NAA MS 98-54

Place:

United States Florida Fort Marion.

Album Information:

MS 98-54 000

Genre/Form:

Ledger drawings

Citation:

Manuscript 98-54, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS1998-54

See more items in:

MS 1998-54 Exercise book containing drawings by anonymous Kiowa artist

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms1998-54

Creator:

Barthelmess, Christian  Search this

Names:

United States. Army. Indian Scouts  Search this

Photographer:

Carpenter, W. J.  Search this

Extent:

119 Copy negatives

Culture:

Indians of North America -- Great Basin  Search this

Indians of North America -- Southwest, New  Search this

Indians of North America -- Great Plains  Search this

A:shiwi (Zuni)  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Apsáalooke (Crow/Absaroke)  Search this

Diné (Navajo)  Search this

Germans  Search this

Ute  Search this

Type:

Collection descriptions

Archival materials

Copy negatives

Photographs

Studio portraits

Place:

Germany

Colorado

Fort Lewis (Colo.)

Fort Bayard (N.M.)

Lame Deer (Mont.)

Fort Keogh (Mont.)

Santa Fe (N.M.)

Little Bighorn Battlefield (Mont.)

Date:

circa 1876-1898, 1903-1906

Scope and Contents note:

Photographs from an album compiled by Christian Barthelmess for a fellow soldier, O.S. Gordon. The bulk of the images relate to American Indians and the United States army and include studio portraits; images of dwellings and camps; cowboys; Zuni and Navajo performing daily activities; Cheyenne and Zuni dances; a Cheyenne travois; fishing and hunting parties; and American Indian scouts for the army. There are also scenic views of Colorado, Zuni Pueblo, Santa Fe, Custer (Little Bighorn) Battlefield, Camp Proctor, and Forts Merritt and Keogh. The collection also includes some images from Germany, including images of a German singing club and the Bavarian town of Klingenberg on the Main. One photograph was made by W. J. Carpenter, a Colorado photographer.

Biographical/Historical note:

Christian Barthelmess (1854-1906) was born in Bavaria and immigrated to the United States in the early 1870s. Enlisting in the U.S. Army in 1876, he directed military bands and was an official army photographer. Barthelmess retired from the Army in 1903, but remained post photographer for Fort Keogh until his death in 1906.

Local Call Number(s):

NAA Photo Lot R87-1

Reproduction Note:

Copy negatives made by Smithsonian Institution, 1989.

Location of Other Archival Materials:

Additional photographs by Barthelmess can be found in the National Anthropological Archives in MS 4423, Photo Lot 24, and the BAE historical negatives.

The Dr. Kenneth J. LaBudde Department of Special Collections at the University of Missouri-Kansas City and the Beinecke Rare Book and Manuscript Library at Yale University hold photographs by Barthelmess.

The Montana Historical Society Archives holds the Barthelmess Family Papers, 1926-1971, including a series relating to Christian Barthelmess.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

This copy collection has been obtained for reference purposes only. Contact the repository for terms of use and access.

Topic:

Dance  Search this

Soldiers -- United States  Search this

Weaving  Search this

Genre/Form:

Photographs

Studio portraits

Citation:

Photo Lot R87-1, Copies of Christian Barthelmess photographs of American Indians and United States Army, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.R87-1

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-photolot-r87-1

Creator:

Tichkematse, 1857-1932  Search this

Depicted:

Bliss, Zenas Randall, 1835-1900  Search this

Extent:

21 Drawings (graphite, watercolor, and ink, 14 x 22 cm.)

Culture:

Tsitsistas/Suhtai (Cheyenne)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Photographs

Date:

1887 April

Scope and Contents:

Drawings in a small notebook of ruled paper, now disbound, covers retained. Drawings document an 1887 hunting excursion taken by Colonel Bliss of Fort Supply (in Indian Territory) and Major John Dunlop, a visitor to the fort from Washington D.C.. Included in the manuscript are a cyanotype picture featuring Colonel Bliss, end papers, and covers of the book as well as a typescript note pasted to the inside cover describing the drawings. The inscription reads as follows: "This pictorial history of various hunts made by Cheyenne Indians, and white men, was drawn and painted entirely by Squint Eye, a Cheyenne and Sergeant of the Scouts at Fort Supply, Indian Territory, April 1887. It will be observed that Sergt. Squint Eye, and Major Dunlop are the most important personages represented ; and it will also be observed that the Sergt. never forgets to put on his stripes, or chevrons. If any difference is noticed between the verbal report made by the major, of his encounter with the Catamount, and Squint eye's representation of it, it will please be ascribed to the native Scotch and Cheyenne modesty of the participants. Fort Supply, I.T., April 17, 1887, with compliments of Z.R. Bliss, on this his birthday." Many drawings are inscribed names identifying the figures, most of whom are Cheyenne men who were enlisted as Army scouts.

Biographical / Historical:

Tichkematse a.k.a. Squint Eyes, Quchkeimus (1857-1932) was one of the best known groups of Plains artists was among the men held prisoner at Fort Marion in Saint Augustine, Florida, from 1875-1878. Tichkematse, a Cheyenne, was one of these prisoner artists. While imprisoned, he learned to speak English and to read and write. Upon release he attended school at the Hampton Institute in Virginia for about a year before coming to the Smithsonian. There he was trained in the preparation of bird and mammal specimens for study and display. During his time at the Smithsonian, he also produced drawings illustrating his old life on the Plains, full of buffalo hunts and battles as well as everyday camp life. In 1880 he returned to the Cheyenne and Arapaho Reservation in what is now Oklahoma, but he continued his affiliation with the Smithsonian. He was active in collecting bird and mammal specimens as well as craft items acquired from Cheyenne friends and relatives, which he shipped to the museum. For additional information on Tichkematse, see Plains Indian Art from Fort Marion by Karen Daniels Petersen (University of Oklahoma Press, Norman, OK 1971), "Squint Eyes: Artist and Indian Scout" by Bob Rea, (2002) www.nmnh.si.edu/naa/scout, and "Tichkematse: A Cheyenne at the Smithsonian" by Candace Greene, (2000) www.nmnh.si.edu/naa/squint_eyes/squint_eyes.htm. For further information on the Cheyenne scouts and their artwork, see "Artists in Blue: the Indian Scouts of Fort Reno and Fort Supply," by Candace S. Greene (American Indian Art Magazine, Winter 1992, pp.50-57) Major John Dunlop was a supply sergeant in San Antonio before the Civil War, then went to Mexico, and later to Washington. While in Washington he met Col. Bliss and the maintained a friendship over time, resulting in his visiting Bliss in Indian Territory and participating in the hunt depicted.

Fort Supply, established in 1868, was initially designated as a supply camp where U.S. Cavalry troops could restock and refresh themselves. It was from this post that Custer and the Seventh Cavalry marched to the Battle of Washita. Over the next twenty-five years, soldiers from Fort Supply performed duties that included peace-keeping and monitoring of the Cheyenne and Arapaho reservation and the Cherokee Outlet as well as monitoring the Land Run of 1893. From 1869 to early 1870, the post served as the temporary location for the Cheyenne and Arapaho Indian Agency. For more information on Fort Supply see Fort Supply, Indian Territory: Frontier Outpost by Robert C. Carriker, 1990 Norman: University of Oklahoma Press; and "History of Fort Supply" at http://www.ok-history.mus.ok.us/mus-sites/fshistory.htm.

Local Numbers:

NAA ACC 91-13

NAA MS 7500

Place:

United States Indian Territory Fort Supply.

United States Oklahoma Fort Supply.

Album Information:

MS 7500 000

Genre/Form:

Ledger drawings

Photographs

Citation:

Manuscript 7500, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS7500

See more items in:

MS 7500 Tichkematse book of drawings

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms7500

Extent:

1 Drawing (volume of 14 drawings (8 leaves, graphite, colored pencil, and crayon, 21 x 29 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Date:

ca. 1875-1877

Scope and Contents:

Book of 14 drawings on 8 leaves of unruled paper in a commercial drawing book. The book was rebound by the Bureau of American Ethnology and the original covers are no longer visible. Drawings depict hunting, travelling, and camp scenes. The inside front cover is inscribed "Drawn by Buffalo Meat". The inside back cover is inscribed "Soaring Eegle [sic]". Buffalo Meat and Soaring Eagle were among the Cheyenne men imprisoned at Fort Marion. Although both men were artists, the drawings in this book are Kiowa, not Cheyenne, based on examination of content.

Biographical / Historical:

Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.

Local Numbers:

NAA MS 4656

Local Note:

Although the drawings were originally cataloged as Cheyenne by Buffalo Meat, neither Candace Greene nor Karen Daniels Petersen agree with this attribution. They note that the drawings can be identified as Kiowa based on elements of clothing, as well as shield and tipi designs. Furthermore, Greene compared the drawings with other works by Buffalo Meat and determined that they do not correspond with the artist's style. Both Greene and Petersen note that the drawings are the work of at least two artists. The inside of the front cover is inscribed, "Drawn by Buffalo Meat, Cheyenne." Petersen notes that the handwriting matches an inscription written inside the cover of MS 39-b, a drawing book that is known to have been collected at Fort Marion by George Fox, who inscribed the cover and captioned the drawings. (Candace Greene and Mike Jordan compared the inscriptions in MS 4656 and MS 39-b and agree that the handwriting is the same.) George Fox worked as an interpreter at Fort Marion until March 26, 1877. Consequently, the book dates between May 21, 1875, the date the prisoners arrived at Fort Marion, and March 26, 1877, the date George Fox departed.

Place:

United States Florida Fort Marion.

Album Information:

MS 4656 000

Topic:

Language and languages -- Documentation  Search this

Genre/Form:

Ledger drawings

Citation:

Manuscript 4656, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4656

See more items in:

MS 4656 Book of anonymous Kiowa drawings

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms4656

Creator:

Howell, Myra Lake  Search this

Names:

Big Tree, circa 1850-1929  Search this

Kicking Bird, -1875  Search this

Parker, Quanah, 1845?-1911  Search this

Satanta, Kiowa Chief, approximately 1815-1878  Search this

Culture:

Kiowa  Search this

Niuam (Comanche)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Date:

undated

Scope and Contents:

Contains three typescripts: (a) "The Comanche Centaurs and Quanah Parker," 234 pages; (b) "Kicking Bird, Prince of the Kiowas," 74 pages; (c) "The Jacksboro Trials of Satanta and Big Tree," 48 pages.

Local Numbers:

NAA MS 4587

Local Note:

Carbon typescripts

Other Title:

The Prairie Centaurs

The Comanche Centaurs and Quanah Parker

Kicking Bird, Prince of the Kiowas

The Jacksboro Trials of Satanta and Big Tree

Topic:

Federal-Indian relations -- Jacksboro Trials  Search this

Citation:

Manuscript 4587, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4587

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms4587

Photographer:

Choate, John N., of Carlisle, Pennsylvania  Search this

Anderson, J. A.  Search this

Creator:

Northwestern Photographic Company  Search this

Names:

Anderson, W. W.  Search this

Berht, Stella  Search this

Black Bear, Carrie  Search this

Bordeaux ?, Martha  Search this

Calls Horse Looking  Search this

Cleveland, William Joshua, 1845-1910  Search this

Dion ?, Mose  Search this

Flood, Thomas  Search this

Four Horn, Charlotte  Search this

Galiego, Louisa  Search this

Gallagher, H. D. Col  Search this

Good Nation, Laura  Search this

Hand, Emma  Search this

High Hawk ?  Search this

Horse Looking, Irene  Search this

Iron Eagle Feather  Search this

Jackson, Sheldon, 1834-1909  Search this

Little Bull  Search this

Low, Adelia  Search this

McChesney, Charles E.  Search this

McLaughlin, James Major  Search this

Pratt, Richard Henry, 1840-1924  Search this

Shields, John  Search this

Side ? Bear, Esther  Search this

Spence, L. F. Agent  Search this

Standing Bear, Victoria  Search this

Townsend, Harvey  Search this

Two Dogs, Isabella  Search this

Wells, Mark  Search this

White Bear, Rosa  Search this

White Birch, Katie  Search this

White Horse  Search this

White Thunder, Rosa  Search this

Wilson, Susan  Search this

Wright, John V. Judge  Search this

Extent:

44 Mounted prints

Culture:

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Mounted prints

Date:

undated

Scope and Contents:

Photographs of Carlisle by J. N. Choate, three Rosebud Agency photographs by J. A. Anderson, the rest unidentified as to photographer. The photographs probably date between 1880 and 1895.

Catalog Number 4574: Letter of 3/21/58 from Richard A. Pohrt (donor): "...eleven photographs from the Indian School at Carlisle. Pa. These I am certain were all taken by J. N. Choates [Choate], a photographer who had a studio at 21 West Main St., Carlisle, Pa." (1) Carlisle Indian School "The dining hall, Indian Training School" (Original Number 45) Photographer: J. H. Choate, Carlisle, Pa. (2) Carlisle Indian School "Sheldon Jackson, John Shields and Harvey Townsend, Pueblos." (Original Number 70) J. N. Choate, Carlisle, Pa. (3) Carlisle Indian School "Pine Ridge Boys" (Original Number 155) (caption written by hand) J. N. Choate, Carlisle, Pa. (4) Carlisle Indian School "After School; Indian Training School, Carlisle, Pa." (written by hand). (Original Number 163) J. N. Choate, Carlisle, Pa. (5) Carlisle Indian School Group of students, presumably of Carlisle School. Labeled on back (by hand) as follows: "No. 1 White Horse Little Bull "No. 2 Calls Horse Looking "No. 3 Brule Iron Eagle Feather "No 4 Stella Berht "No. 5 Rosa White Thunder "No 6 Irene Horse Looking "No 7 Laura Good Nation Compliments of Capt. Pratt, E." J. N. Choate, Carlisle, Pa. (?) (6) Carlisle Indian School Group of girls, presumably students at Carlisle School. Labled by hand as follows; left to right, row 1 (kneeling) Emma Hand, Rosa White Bear (dead), Isabella Two Dogs, Louisa Galiego (Pine Ridge). Row 2, (sitting) Carrie Black Bear, Susan Wilson (S sister [?]), Charlotte Four Horn, Esther Side [?] Bear. Row 3 (standing) Katie White Birch, Adelia Low, Victoria Standing Bear, Martha Bordeaux [?], Mose Dion [?]. J. N. Choate, Carlisle, Pa. (?). (7) Carlisle Indian School Group of boys, presumably students at Carlisle School. J. N. Choate, Carlisle, Pa. (?). (8) "Girl's Quarters, Carlisle Barracks" [Choate Broadside, No 78?] J. N. Choate, Carlisle, Pa. (?). (9) "School Rooms, Carlisle Barracks." [Choate broadside, No. 80 ?].

Catalog Number 4574: (10) Carlisle Indian School "Cap't Pratt's House and Chapel." [Choate broadside, No. 82 ?] Captain Pratt near steps. J. N. Choate, Carlisle, Pa. (11) Carlisle Indian School (?) "Band of Indian Boys at the Government School, Washington, D. C." ("Popular Series"). Stereoscopic view. Probably copy of Choate No. 76, erroneously labeled. [See Choate broadside, B.A.E. Catalog Number 4241.] J. N. Choate, Carlisle, Pa (?) (See R. A. Pohrt correspondence, 9/24/59). (12) Tribe: Dakota (Oglalla ?) "High Hawk." Resembles closely the man identified as High Hawk in Signal Corps Photograph at National Archives (No. 101549). Only slight resemblance to S. I. Negative 42,827. He must have been considerably older when the latter was taken if they are the same person. J. N. Choate, Carlisle, Pa. (13) Dakota:Agency Personnel, various agencies Seated left to right: Reverend William J. Cleveland (Episcopal missionary and sometime agent at Rosebud-- See Bureau of American Ethnology Bulletin 5, page 20 for biography), Captain Richard Henry Pratt (Chairman), and Judge John V. Wright of Tennessee, -- the three composed the 2nd commission to the Sioux, 1888. (For account of the commission see Eastman, "Pratt, the Redman's Moses," University of Oklahoma Press, 1935). (Identified from BAE Negative Number "Portraits 13-b"). No date, but because of the 3 main figures, suggests ca. 1888. Standing. left to right: , (appears third from left in S. I. Negative 43,563-- identified more clearly in original prints of same group National Archives-- N. A. Numbers 86-1, 86-2, 87), Col. H. D. Gallagher, Agent Pine Ridge (same ident. source), Major W. W. Anderson, agent at Crow Creek and Lower Brule; for a Mark Wells see Negative 3307-c, Dr C. E. McChesney, agent at Cheyenne River Agency (Number 14, in row 5.), Major James McLaughlin, Agent Standing Rock Reservation, Col. L. F. Spence, Agent Rosebud Agency (identified from S. I. Negative 43,563). No date, but because of the 3 main figures, suggests ca. 1888.

Catalog Number 4574: (14) Dakota: Agency Personnel Seated: Col. L. F. Spence, Agent at Rosebud, (identified from S. I. Negative 43,563) Standing: unidentified, but compare with 4574: (28), below. (15) Dakota: Pine Ridge Agency Labeled in pencil, "Agent's Dwelling, Pine Ridge Agency, D. T." (Verified by numerous views of the Agency in the National Archives). Two Indian Policemen on porch. Water tower behind house. (16) Dakota: Pine Ridge Agency ? Distant view of Agency, almost certainly Pine Ridge (compare with original prints catalog Number 4464. "Pine Ridge Agency from the North in 1891"). Print marked in pencil, "Fort Niobrara, Nebraska Territory"-- erroneous ? Northwestern Photographic Co, Chadron, Nebraska (17) Dakota: Rosebud Agency "No. 4 St Francis' Mission, Rosebud Agency, S. D., West Side." Church and school, one wing in process of being built. Print not marked. Received in package marked by donor, "J. A. Anderson." (18) Dakota: Rosebud Agency "No 7. Birds-eye view of St Francis Mission. Rosebud Agency, S. D." Print not marked. Received in package marked by donor,"J. A. Anderson." (19) Dakota: Rosebud Agency "No 8. Fathers and Brothers of St Francis Mission. Rosebud Agency, S. D." J. A. Anderson, Rosebud Agency, S. D. (20) Dakota: Rosebud Agency View of Rosebud Agency, and garden, from the South (if 17 above correct). Must have been taken prior to the Anderson photograph, since the new wing is not in evidence. (Identified from 17 and 18.) (21) Dakota: Rosebud Agency Nuns with large group of students in school uniforms, (St Francis Mission, Rosebud Agency ?) Little white girl in front row looks like one in 4574: (32) below, and possibly same as in 4574: (31).

Catalog Number 4574 (22) Dakota: Rosebud Agency "View at Rosebud Agency. May 8th 1892." This series of "row" houses corresponds, perhaps, to ones in J. A. Anderson's Among the Sioux, "A typical Indian Agency" (BAE temporary 77). Note "Police Station " sign. 1892. (23) Dakota: Rosebud Agency Agent's house, Rosebud Agency (identified from Negative Number 43,791-B). Standing in front, left to right: , , Col. L. F. Spence, Agent (identified from S, I, Negative 43,563 and National Archives' prints of same group), , , . (24) Boy on horse in front of agent's dwelling, Rosebud Agency. (House, and thus agency, identified from S. I. Negative 43,791-B and others). (25) Dakota: Rosebud Agency Group of Indian Police, civilian men, women, and children around flag pole in front of agent's house (identified from S. I. Negative 43,791-B), Rosebud Agency. Reverend William J. Cleveland (with whiskers and derby) in back row, 2nd to right of flagpole. (Indentified from BAE Negative Number "Portraits 13-b.") (26) Dakota: Rosebud Agency Distant view of agent's dwelling and unidentified home and/or school to the left of it. Copy in negative catalog made from another original print. See Negative Number 43,791-C.

Catalog Number 4574: (27) Dakota: Rosebud Agency Unidentified home and/or school to left of agent's dwelling (see 4574:(26) above, then 43,791-B), large group of men in front of building. Possibly Reverend William J. Cleveland, (note whiskers) on porch, 3rd from right. (28) Dakota: Rosebud Agency (?) Agency personnel (?), including Indian police. 4th from left, front row: Col. L. F. Spence, Agent at Rosebud (identified from S. I. Negative 43,563). 5th from left, front row: same as man on right in 4574: (14) (?). 2nd from left, 2nd row: same as man on left in 4574: (14) (?). 2nd from right, 2nd row: Thomas Flood, Interpreter (identified from S. I. Negative 43,563). Indentification as Rosebud Agency rests primarily upon the presence of Spence. See Negative Number 45,793-B. (29) Dakota: Rosebud Agency (?) Large building, with chapel, set in open area. Built 1885 (date on front gable). In front are 5 women (one on horse) 3 children, three men; Rev. William J. Cleveland at extreme left (identified from BAE Negative Number "Portraits" 13-b). May be Saint Mary's Mission Boarding School for Sioux Boys and Girls, 12 miles from Rosebud Agency, on Antelope Creek, Dakota Territory, for the following reasons: 1. The building is a self-contained unit--including a chapel--and there are no other buildings in view. 2. The building is dated 1885. Pilling, in Bureau of American Ethnology Bulletin 5, 1887 states that Cleveland had at that time been principal of Saint Mary's for 2 years, which fits neatly with the 1885 date. (30) Dakota: Rosebud Agency (?) Side view of same building as in 4574: (29). Several women and children in foreground. Reverend William J. Cleveland holding horses (identified from BAE Negative Number "Portraits" 13-b), and one other man. See 4574:(29) above.

Catalog Number 4574: The following photographs (4574: (31-39)), along with a group of similar photographs in the National Archives, seem to establish a consistent pattern in the location and structure of agency school facilities. In general, the schools were small frame buildings, apparently widely scattered over the agencies, each with a small frame house for the teaching couple and family. (31) Dakota: Agency Unidentified Frame school (?) building. In foreground, group of students with teachers (man and woman--and their little girl ?), and Indian police. (32) Dakota: Agency Unidentified Group of students with teachers (man and woman--and their child) in front of frame school (?) house. Also an Indian Policeman. (33) Dakota: Agency unidentified Group of students with teachers (man and woman) and Indian Police in front of frame school (?) house. White man on right appears to be identical with the first man on left in S. I. Negative 43,563, Sioux delegation to Washington, 1888. (34) Dakota: Agency unidentified Group of students with teachers (man and woman) in front of frame school (?) house. Also an Indian Policeman. (35) Dakota: Agency unidentified Frame school (?) building. In foreground a group of students with teacher(s). (36) Dakota: Agency unidentified Frame school (?) with group of students and teacher in the foreground. The teacher is the same as in 4574:(36), as are many of the pupils. (37) Dakota: Agency unidentified Teachers (and their child) with group of students in front of frame school building. (See 4574: (38) for identity as school.) (38) Dakota: Agency unidentified School building (and teachers' dwelling ?) with man, woman, and child (same ones as in 4574: (37) above) in front, and two Indian men at side. 2 duplicate prints.

Catalog Number 4574: (39) Dakota: Agency unidentified Teacher's dwelling-schoolhouse complex with one or two scattered cabins in the foreground. Follows what appears to be the typical pattern of small, widely scattered schools. (40) Dakota: Agency unidentified Frame building. Function ? Odd door on back and man standing in doorway suggest this might be an exterior view of 4574: (41). (41) Dakota: Agency Unidentified Pine Ridge (?) or Rosebud (?) Slaughter house (?), interior view, with three men, one an Indian. One man looks like Col. H. D. Gallagher, Pine Ridge Agent. But the print was among a group of views mainly from Rosebud Agency. (42) Dakota: Agency Unidentified Large group of uniformed Indian Police on horseback in front of frame buildings. Agency might be: 1. Standing Rock ? Man front row, left looks like Red Tomahawk. 2. Pine Ridge ? But the men aren't posed in same area of agency where other PR Police pictures were taken. Also the men in this picture have more uniform uniforms than are shown in PR pictures. (See Original Prints, "temporary" Number 29, and Catalog Number 4544: (59, 60).) 3. Rosebud ? (43) Dakota: Agency Unidentified Indian Police, same uniform, same agency, same building, as 4574: (42). Also additional evidence for identifying Agency as Standing Rock: compare officers to those in BAE Negative Number 3711-e. See Negative Number 45,793. (44) Dakota Badlands scenery. "In general it seems to resemble the badlands of southwestern South Dakota not far distant from Pine Ridge and Rosebud Reservations."--Information from John C. Ewers, 4/5/60.

Biographical / Historical:

Pohrt states, "I believe they were taken about 1890. Some are identified and many are not, but I have reason to believe that the majority were taken on the Rosebud and Pine Ridge Reservations in South Dakota. They are of school children, Indian Police, Agency buildings, etc." See correspondence in Smithsonian Institution-Bureau of American Ethnology files.

Local Numbers:

NAA MS 4574

Local Note:

Filed: Original Prints: Carlisle Indian School; Dakota.

Topic:

Photographs  Search this

Dakota Indians  Search this

Federal-Indian relations -- Agencies  Search this

Education -- Carlisle Indian School  Search this

Sioux  Search this

Citation:

Manuscript 4574, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4574

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms4574

Extent:

1 Item (disbound volume of 21 drawings (23 leaves, graphite and colored pencil, 21 x 27 cm.)

Culture:

Tsitsistas/Suhtai (Cheyenne)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Ledger drawings

Date:

1875 August

Scope and Contents:

Artist's sketchbook, now disbound, containing scenes of daily life, dances, hunting and a picture of birds. Individual leaves numbered 1 through 23. Cover of the drawing book inscribed in pencil "Drawn by Making Medicine, Cheyenne Prisoner, St. Augustine, Fla. Aug. 1875." Inscriptions on individual leaves by same hand, probably Lt. Richard Pratt.

Biographical / Historical:

Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort under supervision of Lt. Richard Pratt. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.

Local Numbers:

NAA MS 39A

OPPS NEG 55,025 - 55,046

Local Note:

The original identification of the artist as Making Medicine based on the inscription is in error, based on comparison to other known examples of the artist's work, including Ms. 39B. Re-identified as anonymous Cheyenne artist by Candace Greene, 2002.

Place:

United States Florida Fort Marion.

Album Information:

MS 39A 000

Topic:

Federal-Indian relations  Search this

Dance -- Medicine Dance  Search this

Dance -- Sun Dance  Search this

Amusements -- Wrestling  Search this

Habitations -- Medicine Lodge  Search this

Marriage and family -- courting  Search this

Hunting -- Buffalo  Search this

Hunting -- antelope  Search this

Hunting -- elk  Search this

Hunting -- bear  Search this

Hunting -- Turkey  Search this

War -- warriors  Search this

Zoology -- wild horses  Search this

Zoology -- Buffalo  Search this

Genre/Form:

Ledger drawings

Citation:

Manuscript 39A, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS39A

See more items in:

MS 39-a Book of drawings by unidentified Cheyenne artist at Fort Marion, Florida

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms39a

Artist:

Doanmoe, Etahdleuh, 1856-1888  Search this

Kobay, (Comanche chief)  Search this

Names:

Fort Marion artists  Search this

Kobay, (Comanche chief)  Search this

Onkoiday  Search this

Sepinta  Search this

White Horse  Search this

Zonekeuk ?  Search this

Zotom  Search this

Extent:

33 Drawings (graphite, colored pencil, crayon, ink, and watercolor, 12 x 18 cm.-20 x 55 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Pictographs

Ledger drawings

Date:

1875-1878

Scope and Contents:

The manuscript contains 28 drawings depicting warfare, courting, hunting, dances, a horse race, and an intertribal meeting. The drawings also include 5 pages with pictographs representing various words and the names of the prisoners. Included in the manuscript are rosters of the Ft. Marion prisoners listing the prisoners' names and tribal affiliations. Several drawings are inscribed with the name of Koba, some with the name Etahdleuh. Most were probably drawn by Koba.

Biographical / Historical:

Koba (Wild Horse) was born in 1848. During the Red River War he was a member of the Kiowa band that surrendered on February 18, 1875. Following his surrender, he was confined at Fort Sill, Indian Territory. He was accused of stealing horses and mules in Texas and participating in the August 22, 1874 skirmish at the Wichita Agency, one of the opening engagements of the Red River War. He was among the Kiowa prisoners who were incarcerated in Fort Marion in St. Augustine, Florida following the end of the conflict. He arrived at Fort Marion on May 21, 1875. After his release from Ft. Marion, Koba attended the Hampton Institute in Virginia. He arrived at Hampton on April 14, 1878. In June of 1879, he left Hampton to work on a farm in Lee, Massachusetts. He then enrolled in the Carlisle Institute in Pennsylvania, where he studied to be a tinsmith. He arrived at Carlisle on October 7, 1879. On September 10, 1880, Koba left Carlisle on what was intended to be a brief trip to Indian Territory. Although his health was failing, he was deemed fit to travel. He died of consumption on September 24, 1880, only three days after arriving at his destination.

Etahdleuh (1856-1888) was also known as Etahdleeuh, Etadeleuh, Etahdleuh Doanmoe, Boy, and Boy Hunting. He was imprisoned at Fort Marion in St. Augustine, Florida from 1875-1878. After his release from Fort Marion, he attended the Hampton Normal and Agricultural Institute in Virginia, arriving in April, 1878. In 1879, he travelled to the Indian Territory to recruit pupils to attend the Carlisle Institute in Pennsylvania, where he would study and work on and off from 1879 to 1887. He made two extended trips back to the reservation during this period and from February to May 1880, he worked at the Smithsonian Institution in Washington, DC. He was trained as a Presbyterian missionary and returned to the reservation in January 1888 to serve in this capacity.

For further biographical information on Koba or Etahdleuh see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971.

Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.

Local Numbers:

NAA MS 39C

Album Information:

MS 39C 000

Provenance:

Reynolds, Mary B.

Topic:

Federal-Indian relations -- Kiowa  Search this

Marriage and family -- Courtship -- Kiowa  Search this

War -- Apache  Search this

War -- Navaho  Search this

War -- Comanche  Search this

Genre/Form:

Pictographs -- Kiowa

Ledger drawings

Citation:

Manuscript 39C, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS39C

See more items in:

MS 39-c Kiowa drawings by Koba, Etahdleuh, and others

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms39c

Artist:

Kobay, (Comanche chief)  Search this

Etahdleuh, 1856-1888  Search this

Names:

Fort Marion artists  Search this

Collection Artist:

Doanmoe, Etahdleuh, 1856-1888  Search this

Kobay, (Comanche chief)  Search this

Extent:

1 Drawing (graphite, crayon, and ink on ledger paper, 20 x 25 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Archival materials

Drawings

Ledger drawings

Date:

1875-1877

Scope and Contents:

Inscription reads "Zotom." Drawing is executed on page 122 of a ledger book.

Local Numbers:

NAA INV 08547601

NAA MS 39C

OPPS NEG 91-2000

OPPS NEG 92-11268

Local Note:

This drawing appears to be related to the two subsequent drawings, which according to the inscription depict an attack on a Mexican wagon train, hence the identification of the individual inside the wagon as a Mexican rather than a Euro-American.

Album Information:

MS 39C 001

Genre/Form:

Ledger drawings

Collection Citation:

Manuscript 39C, National Anthropological Archives, Smithsonian Institution

See more items in:

MS 39-c Kiowa drawings by Koba, Etahdleuh, and others

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_component:sova-naa-ms39c-ref1

Creator:

Wohaw, 1855-1924  Search this

Annotator:

Pratt, Richard Henry, 1840-1924  Search this

Names:

Fort Marion artists  Search this

Extent:

1 Drawing (graphite, colored pencil, and watercolor, 12 x 18 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Drawings

Ledger drawings

Date:

ca. 1855-1877

Scope and Contents:

The manuscript consists of one drawing of a tight rope walker. It is inscribed on the verso "Drawn by Wohaw Kiowa."It is from a set of 12 drawings donated by Captain Richard Pratt. Three of the drawings are now in the NAA (MS 30,740, 30,747, and 30,750) and 8 are now in the Graphic Arts collection of the National Museum of American History. The location of the twelfth drawing is not known.

Biographical / Historical:

Wohaw, also known as Wo-Haw, Beef, Gu hau de, and Wolf Robe, was a Kiowa born in 1855. He was accused of being a combatant in the Red River War of 1874 and 1875. On October 3, 1874, he surrendered at the Cheyenne-Arapaho Agency at Darlinton, Indian Territory. He was transferred to Ft. Sill, where he was held in the guard house. He was among the Kiowa warriors who were subsequently imprisoned at Ft. Marion in San Augustine, Florida. Following his release in 1878, Wohaw returned to the Indian Territory, arriving in Anadarko on May 1, 1878. He served in the Indian Police between 1879 and 1880 and in Troop L of the 7th U.S. Cavalry from 1891 to 1895. He was a member of the Ohomah society and is believed to have been an adherant of the Ghost Dance and Peyote religions. Wohaw died in Oklahoma in 1924. For further biographical information on Wohaw see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Moira Harris, Between Two Cultures: Kiowa Art from Fort Marion, Pogo Press, 1989.

Richard Henry Pratt had a long and varied military career, beginning as a soldier in the Civil War and participating in the Indian wars on the frontier. It was his work on the frontier that sparked Pratt's lifelong interests in the American Indian and spurred him to develop his infamous education system devoted to "civilizing" American Indian peoples. It was Pratt's Belief that the American Indian, although leading a savage and uncivilized life, was fully capable of being educated and absorbed into American society. Pratt gained support for this view when he commanded a group of seventy-two Indian prisoners at St. Augustine, Florida, in 1875. While at Fort Marion, Pratt encouraged the prisoners to draw and produce works of art, which he often collected and sold as tourist souvenirs. Some of the drawings he collected were later donated to museums around the country including the Smithsonian Institute and the Yale Library. Information on Pratt taken from http://webtext.library.yale.edu/xml2html/beinecke.PRATT.con.html. For more information about Richard Henry Pratt, see his autobiography Battlefield and Classroom; Four Decades with the American Indian, 1867-1904, 1964, New Haven: Yale University Press.

Fort Marion, also known as Castillo de San Marco, is a stone fortress in St. Augustine, Florida. Between 1875 and 1878, seventy-two prisoners from the southern plains were incarcerated in the fort. Captain Richard Pratt supervised the prisoners during their incarceration at Fort Marion. The prisoners consisted of 27 Kiowas, 33 Cheyennes, 9 Comanches, 2 Arapahos, and a single Caddo. With the exception of one Cheyenne woman, all the prisoners were men. They had been accused of participating in the recent Red River War, earlier hostilities, or both. With the exception of the wife and daughter of one of the Comanche men, the prisoners families were not allowed to accompany them to Fort Marion. For further information on Fort Marion see Karen Daniels Petersen, Plains Indian Art from Fort Marion, University of Oklahoma Press, 1971 and Richard Pratt, Battlefield and Classroom, ed. by R. M. Utley, Yale University Press, 1964.

Local Numbers:

NAA INV 08500300

NAA MS 30750

OPPS NEG 88-19,335

OPPS NEG 92-11256

Place:

United States Florida Fort Marion.

Album Information:

MS 30750

Provenance:

Pratt, R H Capt

Genre/Form:

Ledger drawings

Citation:

Manuscript 30750, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS30750

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms30750

Creator:

Silver Horn, 1860-1940  Search this

Extent:

1 Item (volume of 186 drawings (129 leaves, graphite, colored pencil, watercolor, ink, 35 x 30 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Ledger drawings

Diaries

Date:

ca. 1884-1897

Scope and Contents:

Bound volume of preprinted US Army forms for recording results of target practice, subsequently filled with drawings of courting, hunting, warfare, Saynday stories, and scenes from the Kiowa Sun Dance by Silver Horn and other Kiowa artists, probably all Army scouts. The book also contains a 30- page pictorial diary by Silver Horn, spanning the period between January 1893 to June 1897. The diary starts near the end of the book and proceeds from the back towards the front. Among the many names inscribed in the book are "Hawgone" (Silver Horn) and "Auchchiah," both of whom served in Troop L of the Seventh Cavalry, an all-Indian troop that was commanded by Scott. The manuscript contains 186 drawings, as well as a number of scribbled images. The pages are hand numbered, 5-356, in red ink in the upper left corner of each page. A second hand pagination in black ink runs from the back of the book toward the front, encompassing the last thirty pages of the book. Previous inscriptions in the book record the results of target practice at Fort Meade, Dakota Territory in 1884. Hugh Scott was stationed at Fort Meade between 1883 to 1886.

Biographical / Historical:

Silver Horn, Haungooah in Kiowa, was born in 1860. His name also appears as Hugone, Hangun or Hawgon. He was a member of a prominent Kiowa family. His residential band, led by his father Agiati (Gathering Feathers), actively opposed the governments efforts to confine the Kiowa to a reservation. Members of his family participated in the Red River War of 1874-1875 and were among the last Kiowa to surrender to the military. In 1891, Silver Horn enlisted in Troop L of the 7th U.S. Cavalry. He served with Troop L, which was part of broader experiment involving the enlistment of all-Indian troops, until 1894. In 1901, Silver Horn secured employment with James Mooney, an ethnologist with the Bureau of American Ethnology. Mooney was interested in the designs on Kiowa shields and tipis and hired Silver Horn to produce illustrations of the designs and models of the shields and tipis. The project provided Silver Horn with steady work between 1902 and 1904 and occassional employment between 1904 and 1906. Silver Horn also produced illustrations for Hugh Scott, an army officer and avocational ethnologist. Silver Horn was active in the religious life of the Kiowa. He was a Tsaidetalyi bundle keeper and participated in the Sun Dance, Ghost Dance, and Peyote religion. He was also a member of the Ohoma society. Silverhorn died on December 14, 1940. For additional biographic information on Silver Horn, see Candace Greene, Silver Horn: Master Illustrator of the Kiowas, University of Oklahoma Press, 2001.

Hugh Scott was a graduate of the United States Military Academy and served as an officer in the Seventh Cavalry. He was initially stationed in the Dakota Territory. There he learned Plains Indian sign language, a skill that enabled him to communicate more easily with the Cheyenne, Sioux, Crow, and Arikara scouts with whom he worked. He was transferred to Ft. Sill, Indian Territory in 1889. From 1891 to 1893, he commanded Troop L of the Seventh Cavalry, an all-Indian troop that was comprised primarily of Kiowa men. He was an avocational ethnologist and compiled a small collection of Plains Indian material during his service in the West, including paintings and drawings by Silver Horn. In 1911, he published illustrations redrawn from NAA MS 4252 in an article entitled Notes on the Kado, or Sun Dance of the Kiowa, which appeared in American Anthropologist. For additional information on Hugh Scott, see Candace Greene, Silver Horn Master Illustrator of the Kiowas, University of Oklahoma Press, 2001 and Hugh L. Scott, Some Memories of a Soldier, Century Company, 1928.

Local Numbers:

NAA MS 4252

OPPS NEG 1464-c

Local Note:

Information for the collection record was drawn from Candace Greene, Silver Horn Master Illustrator of the Kiowas, University of Oklahoma Press, 2001.

Place:

United States Oklahoma Territory Fort Sill.

United States Oklahoma. Fort Sill.

United States Oklahoma Territory. Mount Scott.

United States Oklahoma. Mount Scott.

Album Information:

MS 4252 000

Topic:

Language and languages -- Documentation  Search this

Genre/Form:

Ledger drawings

Diaries

Citation:

Manuscript 4252, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS4252

See more items in:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-ms4252

Creator:

Silver Horn, 1860-1940  Search this

Collection Creator:

Silver Horn, 1860-1940  Search this

Extent:

1 Drawing (graphite and watercolor, 30 x 35 cm.)

Culture:

Kiowa  Search this

Indians of North America -- Great Plains  Search this

Type:

Archival materials

Drawings

Ledger drawings

Date:

ca. 1884-1897

Scope and Contents:

Inscriptions read "Time" and "Man who paints the others 4 of these assistants who act for 4 years are succeeded by 4 others chosen by Medicine keeper".

Local Numbers:

NAA INV 09062700

OPPS NEG 92-11368

NAA MS 4252

Place:

United States Oklahoma Territory Fort Sill.

United States Oklahoma. Fort Sill.

United States Oklahoma Territory. Mount Scott.

United States Oklahoma. Mount Scott.

Album Information:

MS 4252 140

Genre/Form:

Ledger drawings

Collection Citation:

Manuscript 4252, National Anthropological Archives, Smithsonian Institution

See more items in:

MS 4252 Military target record book containing drawings by Silver Horn and others and a pictorial diary by Silver Horn

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_component:sova-naa-ms4252-ref60