Feature
Cultural Accounting
19th-century drawings offer insight into Plains perspective

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    Drawings from the Schild Ledger show a confrontation between two mounted warriors.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
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    Web Extra: A military officer shakes hands with two Native Americans in U.S. military dress. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
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    Two figures in elaborate dress.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
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    Tribal members bringing boughs to a sun dance lodge.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
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    1 of 6
    Web Extra: A panoramic view of an attack, created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
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    1 of 6
    Web Extra: A buffalo hunt. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016

The nomadic tribes of North America’s southern Plains, including the Kiowa, did not traditionally maintain a written history, so a Native American version of events from the mid-19th century is not easy to find.

One rare example can be seen in a series of 58 pencil drawings in the collection of the Blanton Museum of Art at the University of Texas at Austin.

These drawings—many attributed to the Kiowa—were originally bound in an account ledger and dated 1840–1895. It is known as the Schild Ledger because it was purchased in 1895 by Dr. E.H. Tips in Fredericksburg from the estate of Herman Schild, believed to have been a member of the Board of Indian Commissioners.

“Because Kiowas had no written form of their language in the 19th century, the ledgers are among the most important formats in which we can see things from their perspective,” explains Jennifer Graber, associate director of the Native American and indigenous studies program at UT Austin. “The ledgers, with their emphasis on landscapes, community, animals, family life, significant life events and ritual, point us toward what was important to Kiowas.”

  • Drawings from the Schild Ledger show a confrontation between two mounted warriors.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A military officer shakes hands with two Native Americans in U.S. military dress. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Two figures in elaborate dress.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Tribal members bringing boughs to a sun dance lodge.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A panoramic view of an attack, created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A buffalo hunt. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016

Ledger art is widely known among students and collectors of 19th-century Native American art. As the name suggests, the drawings were made on paper in actual ledgers, and they are described as similar to paintings originally made on animal hides.

Graber points out that Kiowas changed artistic and historic media through the centuries the tribe lived on the Plains. Generations earlier, Graber says, the Plains people would have made carvings and paintings on rock. Later, these people painted on tepees and shields made from buffalo hides. “When paper became available, they used that too,” she says.

  • Drawings from the Schild Ledger show a confrontation between two mounted warriors.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A military officer shakes hands with two Native Americans in U.S. military dress. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Two figures in elaborate dress.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Tribal members bringing boughs to a sun dance lodge.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A panoramic view of an attack, created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016
  • Web Extra: A buffalo hunt. The drawing was created with graphite and wax crayon in the Schild Ledger, 1840–1895.
    IMAGE: Blanton Museum of Art, The University of Texas at Austin, transfer from Texas Archeological Research Lab, 2016

Even though an artist with a notebook full of paper can create more complex images than on other media, Graber says that “throughout their history of artistic production, Kiowas evidenced many consistencies, including their depiction of important historical events and their encounters with supernatural powers.”

Ledger art history suggests that the drawings continued a Plains artistic tradition of two-dimensional figures populating scenes of battles, ceremonies and native life. The artists capture the essence of the scene in a highly stylized way, including little shading to imply depth. Unique details in the drawings, such as shield designs, are useful for identifying the subjects by tribal affiliation or even by name.

The Schild Ledger was a well-traveled volume. After Tips purchased the ledger in 1895, he traveled with it to Germany, and his son, Carlos, ultimately returned with it to the United States. The Texas Memorial Museum acquired the ledger from Carlos Tips’ widow in 1964.When the museum deaccessioned its cultural artifacts to focus on natural history, the ledger moved to the Texas Archeological Research Laboratory. In 2016, the ledger was transferred from TARL to the Blanton Museum of Art.

Web Extra: More About Ledger Art

The Plains Ledger Art Digital Publishing Project offers access to 42 ledgers along with extensive history.

 

The Schild Ledger Book: Drawing a Culture in Transition offers detailed background about the Schild ledger and additional information from the Texas Archeological Research Laboratory.

 

Texas Beyond History offers a page on the Red River War, including an image from the Schild Ledger that depicts the 1874 Buffalo Wallow battle in the Red River War.

 

Texas Beyond History also offers a lesson plan for engaging and instructing students about ledger art.

Jonathan Jarvis, associate director of TARL, describes the archaeological information these drawings communicate. In one example, a drawing depicts the 1874 Buffalo Wallow battle of the Red River War. “For us it is great art, and we recognize the history there, but we can relate it to actual, in-the-ground archaeology.”

Jarvis helped facilitate the transfer of the Schild Ledger to the Blanton because the museum is better able to get the drawings out to the public. Now, the drawings are exhibited occasionally and preserved for further study by tribal members, artists, archaeologists, historians and anthropologists.


Charles Lohrmann is the editor of Texas Co-op Power.

TAGS: Art, Culture, History


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