Table Of ContentL e d g e r N a r r a t i v e s
The Plains Indian Drawings
of the Lansburgh Collection
at Dartmouth College
edited by Colin G. Calloway
Led ger Narr atives
New Directions in Native American Studies
Colin G. Calloway and
K. Tsianina Lomawaima, General Editors
Calloway LEDGER NARRATIVES.indb 1 6/27/12 1:01 PM
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L e d g e r N a r r at i v e s
The Plains Indian Drawings of the
Lansburgh Collection at Dartmouth College
Edited by Colin G. Calloway
University of Oklahoma Press : Norman
Published in Cooperation with the
Hood Museum of Art, Dartmouth College,
Hanover, New Hampshire
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The following illustrations, appearing uncaptioned on the pages noted, are reproduced courtesy of
the Hood Museum of Art, Dartmouth College, Hanover, New Hampshire:
Page i: unknown artist, Tsistsistas (Cheyenne), active late nineteenth century, Untitled
[Tsistsistas (Cheyenne) warrior rescuing a wounded comrade], from the “robert allen Guthrie
Notebook,” c. 1874–75 (2007.65.89) (plate 38, p. 82).
Pages ii–iii: unknown artist, southern Tsistsistas (Cheyenne), active late nineteenth century,
Untitled [Tsistsistas (Cheyenne) warriors on horseback], page 161 from the “arrow’s elk society
Ledger,” c. 1874–75 (2008.70.3) (detail, plate 30, p. 74). Purchased through the Mrs. Harvey P.
Hood W’18 fund.
Page 1: White swan, apsáalooke (Crow), 1851–1904, Untitled [White Swan riding through
gunfire], c. 1890 (2007.65.93) (detail, plate 136, p. 182).
Page 43: unknown artist, Tsistsistas (Cheyenne), active late nineteenth century, Untitled [A
procession of Tsistsistas (Cheyenne) warriors], page 190 from the “old White Woman Ledger,”
c. 1880–90 (2007.65.74) (detail, plate 112, p. 158).
Library of CoNGress CaTaLoGiNG-iN-PubLiCaTioN DaTa
Ledger narratives : the Plains indian drawings of the Lansburgh collection at Dartmouth College /
edited by Colin G. Calloway. — first [edition].
pages cm — (New directions in Native american studies ; v. 8)
This book is the product of the exhibition “Native american Ledger Drawings from the Hood
Museum of art: The Mark Lansburgh Collection,” held oct. 2–Dec. 19, 2010, Hood Museum of
art, and the 2010 Leslie Humanities institute, “Multiple Narratives in Plains indian Ledger art,”
Dartmouth College, Hanover, New Hampshire.
includes bibliographical references and index.
isbN 978-0-8061-4297-5 (hardcover : alk. paper) — isbN 978-0-8061-4298-2 (pbk. : alk. paper)
1. indian ledger drawings—Great Plains—Catalogs. 2. Lansburgh, Mark—art collections—
Catalogs. 3. Drawing—New Hampshire—Hanover—Catalogs. 4. Hood Museum of art—
Catalogs. 5. indians of North america—Great Plains. i. Calloway, Colin G. (Colin Gordon), 1953–
e78.G73L43 2012
741.089'97078—dc23
2012007470
Ledger Narratives: The Plains Indian Drawings of the Lansburgh Collection at Dartmouth College
is Volume 8 in the New Directions in Native american studies series.
The paper in this book meets the guidelines for permanence and durability of the Committee on
Production Guidelines for book Longevity of the Council on Library resources, inc. ∞
Copyright © 2012 by the university of oklahoma Press, Norman, Publishing Division of the
university. Manufactured in China.
all rights reserved. No part of this publication may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording,
or otherwise—except as permitted under section 107 or 108 of the united states Copyright
act—without the prior permission of the university of oklahoma Press. To request permission to
reproduce selections from this book, write to Permissions, university of oklahoma Press,
2800 Venture Drive, Norman oK 73069, or email [email protected].
1 2 3 4 5 6 7 8 9 10
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Contents
acknowledgments vii
introduction 3
Colin G. Calloway
. Battles, Courting, and Changing Lives: The Mark Lansburgh Collection 9
Joyce M. szabo
2. S triving for Recognition: Ledger Drawings and the Construction
and Maintenance of Social Status during the Reservation Period 20
Michael Paul Jordan
3. I llustrating Encounter: Trade, Travel, and Warfare in
Southern Plains Ledger Drawing, 1875–1880 34
Jenny Tone-Pah-Hote
The Mark Lansburgh Collection 43
4. Unsettling Accounts: The Violent Economies of the Ledger 189
Melanie benson Taylor
5. New Geographies and Surveying Eyes:
The Landscapes of Noh-hu-nah-wih (Chief Killer) 201
Mary Peterson Zundo
6. Tracing the Schoolhouse/Big House Legacy: Ledger Art and Prison Work 219
Vera b. Palmer
7. Reconstructing History from a Fragmented Past 233
Joyce M. szabo
appendix: Ledger Drawings in the Mark Lansburgh Collection 253
Compiled by Deborah T. Haynes
bibliography 263
Contributors 269
index of the Plates 271
General index 273
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Acknowledgments
The acquisition, exhibition, and publication studies program during the project. Joe D. Horse Capture,
of the Mark Lansburgh collection would not have been associate Curator at the Minneapolis institute of the arts,
possible without the dedication and collaboration of served as guest curator of the exhibition and as a willing
many people. an avid collector himself, Mark Lansburgh and frequent consultant during the symposium.
always acknowledges the assistance of Malcolm Grimmer, barbara Thompson coauthored the proposal that
formerly of the Morning star Gallery in santa fe, in secured funding from the Leslie Humanities Center
building this remarkable collection. He also wishes to at Dartmouth for the “Multiple Narratives in Plains
express his appreciation to ania Kamienska for her indian Ledger art” institute and symposium. adrian
kindness and assistance. Mark’s loyalty and generosity to randolph, Leon b. Williams Professor of art History
his alma mater opened the way for the college to obtain and former Director of the Leslie Humanities Center,
the collection through purchase and partial gift. brian gave the project enthusiastic and consistent support, and
Kennedy, director of the Hood Museum of art from center administrator isabel Weatherdon managed the
2005 through 2010, and barbara Thompson, former arrangements for the institute with her customary grace,
curator of the Native american collections at the Hood good humor, and competence.
and now a curator at the Cantor Center for the Visual Joyce M. szabo, regents Professor of art History
arts at stanford university, both worked tirelessly with at the university of New Mexico, came to Dartmouth
Mark preparing the groundwork. former Dartmouth as William H. Morton Distinguished fellow for the fall
president James Wright, former provost barry scherr, and 2010 institute. in that capacity she served as director of
the late Dartmouth College librarian edward Connery the institute’s weekly seminars and afterwards continued
Lathem made sure that the possibility became reality. to work closely with the staff of the Hood Museum of
Katherine Hart, interim director of the Hood in 2010–11 art in fine-tuning the descriptions and information
and barbara C. and Harvey P. Hood Curator of academic relating to the drawings. in all of her contributions (and
Programming, sustained the momentum and ensured despite a series of misadventures involving cars, dogs,
that the exhibition proceeded smoothly during a time and ankle bones), Joyce was generous with her time
of transition at the museum. in this she was ably aided and her knowledge and wore her expertise lightly. in
by Karen Miller, assistant Curator for special Projects; the course of the three-month seminar, many students
independent scholar sherry brydon, who researched and and visitors dropped in for one, two, or several sessions.
provided object documentation; data manager Deborah T. regular participants and short-term fellows, besides
Haynes, who did a tremendous amount of work those contributing essays to this volume, included elaine
cataloguing and standardizing the cataloguing of the brown, then the Charles eastman Dissertation fellow at
drawings in the collection, and whose attention to detail Dartmouth College; Mary Coffey, associate Professor
and consistency was invaluable at the copyediting and of art History, Dartmouth College (and her newborn
proof stages; Kathleen o’Malley, associate registrar; and baby, irena); Mike Cowdrey, independent scholar; Chris
Nils Nadeau, Communications and Publications Manager, Dueker, then a doctoral candidate in Native american
all of whom, as always, were generous and unstinting art at Columbia university; bruce N. Duthu, samson
in their support and assistance of the Native american occom Professor and Chair of Native american studies,
vii
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Dartmouth College; Deborah T. Haynes; Joe D. Horse of the overall project. Managing editor steven baker
Capture; ben Madley, then a Mellon Postdoctoral fellow shepherded the publication along with care and
at Dartmouth; Karen Miller; Chris Parsons, then a PhD consideration. Designer Julie rushing was patient and
candidate at the university of Toronto; Dale Turner, responsive to our concerns and wishes. The work of
associate Professor of Government and Native american Deborah T. Haynes and Kathleen o’Malley at the Hood
studies, Dartmouth College; and Lola Van Wagenen Museum of art was invaluable in compiling the images.
of Clio Visualizing History, an organization dedicated Janet C. berlo, Professor of art History and Visual and
to developing innovative american history projects Cultural studies, university of rochester, was unable
designed to engage students, inform educators and to attend the exhibition and symposium as planned,
researchers, and appeal to a wide public audience. but her insightful comments on the manuscript made a
This book is a joint publication between the Hood valuable contribution to the final product. from planning
Museum of art and the university of oklahoma Press, to publication, Ledger Narratives has been a truly
where alessandra Tamulevich demonstrated immediate collaborative effort.
interest in the publication and guided it through its
early stages. Jo ann reece handled the copyediting Colin G. Calloway
with attention to detail and a thoughtful awareness Hanover, New Hampshire, 2011
viii aCKNoWLeDGMeNTs
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Led ger Narr atives
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