Two warriors are battling in this ledger drawing: the left side warrior carries a gun and wears long leggings, a vest and a cap with feathers. The rider on the right wears a short feathered headdress, long shirt, short leggings and tall moccasins. He has thrust a long lance towards his opponent. Even the horses butt heads during this battle. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The battle scene on this ledger drawing is briefly as follows: The Warrior has been wounded in the chest and is bleeding from his mouth as he lies on the ground. He wears a full length eagle headdress with a non-native styled coat with buttons. His war lance lies alongside of him. His horse is also wounded in the side in front of the saddle and is bleeding from his nose. Five army men are attacking the warrior as they lay on the ground all firing you can see the bullets fly over the rear of the horse and the spurts from their guns. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

"Fall Corn Dance" is an opaque watercolor over graphite drawing on a textured wove paper. The artist's signature, "Mootzka", is located at the bottom right corner of the image in black watercolor. The media is generally in good condition but there is some cracking in the dark blue skirts, the yellow stripes of the flag, the green in the feather headdresses, and in most of the red areas. There is also cracking in the brown drum and belt of the figure in pink. An previous acidic mat caused an orange-brown mat burn around the image.

The reservation era of the late nineteenth and early twentieth centuries, when Native American tribes had ceded their land to the federal government and were confined to set aside tracts of land, created profound cultural changes for the Plains peoples. The masculine artistic tradition of painting warrior's exploits on hide shirts and robes declined but men continued to record their deeds and their changing way of life in paintings and drawings on canvas, muslin, and small notebooks, or ledger books. Many of these works memorialize individual achievements in hunting and warfare. Some ledger books were carried into battle and "captured" on the battlefield. U.S. Army men who had amicable relations with Indian scouts or were guards of Native American prisoners commissioned others. This drawing depicts one warrior scalping another fallen warrior who is dropping his bow and arrows.

Also known as Lewis Lomay.(1913-1996) Native American watercolor painting, depicting scenes from everyday life and ceremonial dances, arose in the 1920s, stimulated by growing interest among white patrons. Drawing from a long tradition of painted hides, pottery, and wall murals, artists incorporated native painting styles with the European-derived medium of watercolor to create a new Native American art form. At the heart of this movement were various self-taught artists from the southwestern United States, particularly from Hopi and Pueblo cultures. In 1930 the Brooklyn Museum was one of the first museums in the country to feature an exhibition of watercolors by Native American painters from the Southwest. Here Louis Lomayesva (b. 1913) depicts the dancers and drummers of the Hopi Corn Dance. Representing life , corn is the most important symbol for the Hopi. Like many of his contemporary Native American watercolor artists watercolorists, Lomayesva omitted the background in his images , thereby emphasizing the figures while adding a timeless quality. At the same time, his paintings mirror reality, as seen in the fine details of the woven designs on the dancers' shawls and belts.

Watercolor painting of a Pueblo dancer about to climb a ladder leaning against a kiva. Awa Tsireh is also called Alfonso Roybal.

Kachina doll dressed with a black cape, tall boots, cloth skirt.

The scene depicted shows the fight between a Native warrior (possibly Cheyenne) and a non-native person. The warrior is wearing long leggings with a stripe and a blue shirt. Two feathers are on his head. He is carrying a shield with a circular design decorated with feathers and using a long decorated spear. His horse, that he is riding barebacked, has his tail bobbed, dyed and possibly wrapped for battle. The non-native person has been unseated and is falling off his saddled horse. He wears a black coat over checkered pants. His derby style hat has fallen off his head. These drawings are done by tearing out paper from ledger books that were used by army and reservation post managers as a substitute for using hides- the traditional medium fro such drawingsfor offical art papers.

The reservation era of the late nineteenth and early twentieth centuries, when Native American tribes had ceded their land to the federal government and were confined to set aside tracts of land, created profound cultural changes for the Plains peoples. The masculine artistic tradition of painting warrior's exploits on hide shirts and robes declined but men continued to record their deeds and their changing way of life in paintings and drawings on canvas, muslin, and small notebooks, or ledger books. Many of these works memorialize individual achievements in hunting and warfare. Some ledger books were carried into battle and "captured" on the battlefield. U.S. Army men who had amicable relations with Indian scouts or were guards of Native American prisoners commissioned others. This drawing depicts one warrior on horseback with a rifle confront another warrior on foot about to release his arrow from the bow. Still another warrior behind the horse brandishes his rifle. A sword is suspended in mid-air behind his head.

Curator Stewart Culin, when he collected this doll identified it as kyanaque ko-ha-na or Kanakwe. In his 1907 diaries he saw a performance of the Kanakwe dancers in the plaza in Zuni. This doll matches the description of the regalia these dancers were wearing exactly