UC Merced The Journal of California Anthropology
Title Imagemakers of the Modoc War: Louis Heller and Eadweard Muybridge
Permalink https://escholarship.org/uc/item/6ff6485c
Journal The Journal of California Anthropology, 4(2)
Author Palmquist, Peter
Publication Date 1977-12-01
Peer reviewed
eScholarship.org Powered by the California Digital Library University of California Imagemakers of the Modoc War: Louis Heller and Eadweard Muybridge
PETER PALMQUIST
HE Modoc War of 1872-73 in north THE MODOC INDIAN WAR (1872-73) Teastern California has been a subject of both considerable popular interest and Fought in the lava beds at Tule Lake on the scholarly investigation during the past century. Cahfornia-Oregon border, the Modoc Indian Many of its ethnic, social, and military di War of 1872-73 pitted a small band of Modoc mensions have been evaluated in depth. Al Indians against the crushing mihtary strength though most of the interpretive efforts have of the United States Army. Murray (1959:4) used photographic imagery produced at the summed up the meaning ofthe Modoc War as time of the Modoc conflict, analysis of these follows: photographic materials has been surprisingly casual. The Modoc Indian War was the final desperate resistance to the impact of the Nearly 100 Modoc War photographs are white man's culture on the ancient Indian known to exist. These photographs range from folkways. It marks the concluding stages of carte de visile style portraits of the Modoc the decline in vigor and numbers among a Indian prisoners to stereographs of the war- fierce people, beginning in the early years site topography, the mihtary encampments, of the nineteenth century and ending when the participants, and the mihtary hardware. a band of beaten and spiritless prisoners Curiously, these remarkable images have never were forced aboard a Central Pacific Rail been studied as a group, nor have the circum road train bound for exile on a tiny reservation in Oklahoma. stances of their origin been explored in depth. For most writers who have dealt with the Incredibly, the Modocs under their leader conflict, there has been one simple assumption: Captain Jack (Kientpoos) won nearly every "Eadweard J. Muybridge took the Modoc War battle in the seven months that the conflict photographs." This paper will show that such raged before they lost the war. Widely reported is not the case, and that an almost forgotten in both the national and international press, photographer, Louis H. HeUer, deserves equal the Modoc confrontation was the only Indian/ credit with Muybridge for coverage of the White conflict of major consequence to take Modoc War. A catalogue of Modoc War place within the present-day state of California images is presented at the end of this paper, (Thompson 1971:vii). This senseless episode followed by a representative series of images by caused the American government a great deal the photographers (Plates 1-33). of embarassment and expense. As Thompson IMAGEMAKERS OF THE MODOC WAR 207
(I971:xii) observed: "It was . . . the most one soldier dead and seven wounded and one expensive Indian war in American history Modoc dead and one wounded. A contempo considering the shortness of the war and the rary observer (Anonymous 1873:3) wrote: number of Indians involved." In terms of "Blood has been spilled, and treasure is being human values, the Modoc War stands out as a consumed in the effort to compel obedience on consummate tragedy—a case history of cultur the part of the desperate band under Captain al insensitivity. The three most reliable Jack." Determined to remain in their home modern treatments of the Modoc War are land, the Modocs retreated to the lava beds on presented by Murray (1959), Thompson the south shore of Tule Lake. These lava beds (1971), and Dillon (1973). Only a brief sum formed a perfect natural fortress of jagged mary of the conflict, touching on a few of the rocks, ledges, and caves, offering the war's highlights, will be presented here. Modocs—who knew the terrain—excellent Although the causes of the Modoc War opportunities for concealment, whereby they were many and complex, its origins were might easily resist attacks by government typical of all Indian/White conflicts in nine troops and civilian volunteers. teenth century America. A steady usurpation The first major attack on Captain Jack's of Indian lands by White settlers, together with stronghold in the lava beds occurred on Janu a failure of communications between the two ary 16, 1873 (Murray 1959:160-187; Thomp cultures, led to an inevitable struggle. Mutual son 1971:35; Dillon 1974:169-170). At least 300 fears and hatreds fueled by deliberate White soldiers, supported by howitzers, joined the deceptions created a history of skirmishes and actual assault against a Modoc force ill-will. Even worse, government Indian policy numbering only about sixty men (Thompson was repeatedly insensitive to the needs of the 1971:43). The results were disastrous for the Modoc people. army, which withdrew leaving some of its dead Between 1867 and 1869, the Modocs were on the field. In the two-day engagement, the removed under mihtary pressure from their Modocs killed nine soldiers and wounded 28, aboriginal lands, which stretched across the yet not one ofthe attackers ghmpsed a Modoc Oregon-California border, to the Klamath during the battle (Thompson 1971:43). Reservation in Oregon. This removal placed The government next decided that talk was them directly in the hands of their more cheaper than war, and efforts were made to numerous traditional rivals—the Klamath. negotiate a settlement. A four-member peace Integration with the Klamaths proved in commission was sent to the lava beds, initi tolerable. In 1870, the Modocs began leaving ating a prolonged, frustrating period of negoti the reservation and returning to their own ations. Meanwhile, the army continued to lands. During the next two years, every effort gather reinforcements, eventually raising its by government agents to return the Modocs to total force to 1000 men. Tension and suspicion the Klamath Reservation failed. By late 1872, of bad faith mounted on both sides. Then, on having failed at negotiation, the government Good Friday, April 11, 1873, the peace com was preparing to use force to achieve its ends. mission and a Modoc delegation met under a The first direct confrontation between U.S. flag of truce. Without warning, the Modocs Army troops and the Modocs occurred at Lost suddenly opened fire, killing General E.R.S. River on November 29,1872 (Murray 1959:82- Canby and a peace commissioner and severely 113; Thompson 1971:15-21; Dillon 1974:127- wounding another commissioner (Murray 159). What the government intended as a 1959:180-200; Thompson 1971:51-65; Dillon simple show of force resulted in a skirmish with 1974:181-232). Before soldiers reached the 208 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY scene, the Modocs again disappeared into the involved in a series of skirmishes. The lava beds. slaughter of the army patrol was so sickening The death ofthe highly-respected Canby— by mid-day that Scarfaced Charley, a Modoc the only Regular Army general officer to be leader, called off the attack, shouting to the killed in the Indian wars—aroused intense troopers, "All you fellows that ain't dead had demands for revenge (Thompson 1971:64). better go home. We don't want to kill you all in Colonel Alvan C. Gillem, regrouping Canby's one day" (Murray 1959:231). command, prepared for an immediate attack After this stunning defeat of the Army by on the Modoc stronghold. His resources in the Modocs, Col. Jefferson C. Davis (Canby's cluded four batteries of artillerymen (prepared replacement) arrived on the scene of military to fight as infantry), five troops of cavalry, five operations. Davis had hoped for sufficient companies of infantry, and 70 Warm Spring time in which to regroup a disillusioned com Indian scouts, reinforced by howitzers and mand. The Modocs, however, continued mortars (Thompson 1971:67-68). Beginning mounting attacks on military supply trains, on April 15, the soldiers pressed an attack for forcing Davis to send patrols to the affected two days, supported by artillery fire. Using areas. One such patrol, commanded by a their meager resources, the Modocs deployed Captain Hasbrouck, fell victim to another themselves expertly. Eight Modoc warriors, Modoc ambush, but succeeded in rallying a for example, held 400 troopers to a half-mile counterattack that routed Captain Jack's advance over a six-hour period. Murray (1959: forces. Known as the Battle of Sorass Lake 208) noted: "They were as effective with their (May 10, 1873), this was the first in a series of long-range sniping as a company of machine engagements in which the Army troops proved equal to the Modocs (Murray 1959:246-251; gunners would be at the present time." Eventu Thompson 1971:101-105; Dillon 1973:283). ally, the army forces succeeded in penetrating the stronghold, but the Modocs were gone. The tide now turned. While the Modocs The irony of the engagement was not lost upon had been winning, their morale had remained a contributor to the Yreka Journal (June 11, consistently high. After the battle of Sorass 1873): Lake, many latent jealousies broke out within the various Modoc sub-groups under Captain In truth it was a gallant sight. Jack. These differences eroded Modoc co- To see a thousand men of might. hesiveness and the Indians now became victims With gun and cannons, day and night of a "cat and mouse" hunt by the Army. Fight fifty dirty Indians. Continually pressing the exhausted Modocs, Although the army had failed to ac the soldiers succeeded in capturing several complish its primary mission—to capture or small groups of stragglers. Worse yet, several destroy the Modocs—the Indians had been of Captain Jack's band deserted and joined the driven from a position that afforded them the hunters. Despite the extreme odds against best chance of continued resistance (Thomp them, the remaining Modocs continued to son 1971:75). The war was far from finished, outmaneuver and elude the army troops for however. On April 21, the Modocs made a another month. It was not unfil June 1, 1873, successful foray against a mihtary supply train that the war ended with the surrender of (Thompson 1971:81; Dillon 1974:265). As a Captain Jack and the last remnants of his result, the army sent a reconnaissance patrol to illustrious band (Murray 1959:252-282; scout the Modocs' position. The patrol tracked Thompson 1971:109-115; Dillon 1973:277- the Modocs into the lava beds, where it became 304). IMAGEMAKERS OF THE MODOC WAR 209
On July 1, 1873, a mihtary tribunal was graph the Modoc captives. Moreover, Heller's convened to try Captain Jack and five other craftsmanship was usually equal to Muy- Modoc leaders, Schonchin John, Black Jim, bridge's, and many of his images are artistically Boston Charley, Barncho, and Sloluck provocative. (Murray 1959:283-299; Thompson 1971:117- Muybridge's fame as a photographer un 126; Dillon 1973:305-332). No legal represen doubtedly helped obscure Heller's role in tative was assigned to the Modocs. The com covering the Modoc War. But Muybridge mission found all six of the Modocs guilty of himself did nothing to set the record straight. two charges, murder and assault, in violation Writing in the third person in 1881, Muybridge of the laws of war, and sentenced them to be touted his own preeminence as the photo hanged. On August 22, President Grant ap grapher of the Modoc War: proved the sentences, although he later com muted the sentence to life imprisonment for . . . Mr. Muybridge was dispatched to the Barncho and Sloluck. Captain Jack and the front during the Modoc War, and the wide other three Modoc leaders were hanged on the spread and accurate knowledge of the topography of the memorable Lava Beds morning of October 3, 1873. The heads ofthe and the country round-about, and of the Modoc leaders were then cut off and shipped personnel of the few Indians who, with the to the Army Medical Museum in Washington, bravery (oO at least the classic three D.C. (Thompson 1971:125-126). hundred, defied and fought the army ofthe Union, is due chiefly to the innumerable PHOTOGRAPHERS OF THE and valuable photographs taken by him MODOC WAR [Mozley 1972:46]. As recently as 1971, a historian of the Before discussing the photographic cover Modoc War wrote: "As far as is known, age of the Modoc War, something should be Muybridge was the only photographer present said about the two photographers. Muy during the war" (Thompson 1971:132). How bridge's career has been described so often that ever, directly contradicting Thompson's state only a brief sketch seems necessary. Few ment was his own selection of 1873 war photographers have had such a profound photographs, which included seven images by influence on society and their peers. With the Eadweard J. Muybridge and 10 images by the exception of a short article (Schmitt 1960:23),' forgotten cameraman of the Modoc War— however, details of Heller's hfe have not previ Louis H. Heller. Even when Heller has been ously been published. given credit for covering the Modoc War, it has Eadweard J. Muybridge (1830-1904) been grudging and deprecating. Haas (1976: 52) wrote: "Louis Heller, a studio portraitist Muybridge's life-story is a fascinating tale from nearby Fort Jones, also ventured into the of strange circumstances and crusading zeal final stage [my itahcs] of the war and photo (see Mozley, 1972). Born Edward James Mug- graphed some of the same persons as Muy geridge, he immigrated to America in 1852, bridge, but his stiff portraits could just as well and eventually achieved great pubhc recog have been taken in his studio." nition for his mammoth-sized views of The facts are that Heller was the first to Yosemite's scenic wonders and for his pio photograph a Modoc War-related event, the neering efforts in the study of animal motion. first to arrive at the lava beds with his camera, Often called the "Father of the Motion the first to pubhsh Modoc imagery in a Picture," Muybridge (Plate 1) is one of photo national pubhcation, and the first to photo graphy's most important figures. Because of 210 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
his reputation as a superb photographic crafts "PHOTOGRAPHS, AMBROTYPES, ME- man, the United States government made a LAINOTYPES ... In the most superior style, wise choice in selecting Muybridge to docu and at reasonable rates" (Yreka Journal, Octo ment the Modoc War. ber 7, 1864). For the next five years. Heller's Yreka Louis Herman Heller (1839-1928) Photograph Gallery did a respectable and Louis Heller's life typifies the successful growing business. During part of each integration of the European-bom immigrant summer, he traveled with his portable photo into mainstream America. Born in Hesse tent to adjacent areas, providing "counterfeit Darmstadt, Germany, on August II, 1839, presentments" in Fort Jones, Rough and Heller is thought to have come to New York Ready (Etna) (Yreka Union, September 7, City in 1855. Easily adapting to his new home, 1867), and the Scott Valley region (Yreka he eventually joined the westward migration to Journal, June 28, 1867). Cahfornia. Settling in the Siskiyou County Throughout his long stay in the Siskiyous, area, he worked as a professional photo Heller's interest seemed focused on this grapher for nearly 40 years. striking region west of Yreka. In January, Only 16 years old when he arrived in 1869, Heller sold his Yreka Gallery to his America, Heller became an assistant to a New assistant, Jacob Hansen (Yreka Journal, Janu York hthographer and fellow German, Julius ary 15, 1869) (Plate 4) and estabhshed a new Bien (1826-1909), best remembered as the first base of operations in Fort Jones, where he great scientific map-engraver in the United remained active until 1900. States. Young Heller helped Bien produce the From his new location, Heller served a Audubon FoUos, among other projects large geographic area. The surrounding (Schmitt 1960:23). Early in the 1860's, HeUer countryside was quite mountainous, with joined a New York photographic establish beautiful winding streams; travel was difficuh ment, where he soon learned all aspects ofthe and often dangerous. Heller's summer ex trade (Yreka Journal, October 7, 1864). Al cursions now included Callahans, Sawyers though the name of this gallery is unknown, it Bar, Trinity Center, Scott Bar, Happy Camp, seems likely that it was the same one in which and many of the smaller mining communities Heller posed proudly in July, 1861 (Plate 2). (Scott Valley News, August 6, 1881). His Heller is beheved to have migrated to Cah portable gallery was a welcome sight in the fornia in 1862 (Schmitt 1960:23). If such is the back country, where diversions were rare. case, his whereabouts during the next two Heller's studio offerings during the 1860's years are still unresolved. By October, 1864, are typical of the era. Carte de visite style Heller was permanently located in the Sis- photographs, with the subject standing in a kiyous. Setthng in Yreka, he was naturalized full-length pose, were most popular. Back there on October 27, 1864. This information, grounds were austere, and props were kept to a recorded in the Siskiyou Great Register, de minimum. One massive chair with an ornately scribes Heller as 5 feet, 8 inches tall, and light carved back was often employed. Stylistically, complected with brown hair and eyes. these images are straight-forward, but contain Utihzing his previous photographic ex a large measure of dignity and simple elegance. perience, Heller formally advertised his own Heller also produced views of the de photographic establishment on "Miner Street, veloping towns and local mining operations one door west of Yreka Brewery," starting in (Plates 5 and 6); but only a few of these October, 1864. His offerings included documents survive. The Black Bear Mine, deep IMAGEMAKERS OF THE MODOC WAR 211
in the Salmon Mountains, was a popular wants to see what the lava bed looks like, Heller haunt, and a number of early views of and to form an idea of the hard place this operation currently exist. Heller is also one soldiers have been obliged to fight the of the few early photographers who actually Indians in [ Yreka Journal, May 14, 1873]. pictured the landforms of the area. While Eadweard J. Muybridge traveled to the Heller was serving the pictorial needs of the Modoc site at the request ofthe United States western Siskiyous, an extraordinary event Government, arriving a week later than Heller. taking place on the eastern border of Siskiyou His task was to "prepare photographic views of County was to provide him with his greatest the different approaches to the lava bed and of opportunity for public acclaim as a photo Captain Jack's famous cave and fortifications" grapher—the Modoc War. (San Francisco Chronicle, April 29, 1873). Photographing the site was made possible by a PHOTOGRAPHING THE MODOC WAR military action completed on April 17, which The tragic massacre of the peace com finally succeeded in forcing the Modocs from missioners on April 11, 1873, coupled with the their fortified stronghold. The Modocs, how ineptness of the Army's efforts to remove the ever, remained at large. Muybridge traveled Modocs, led to heated public demonstrations. from San Francisco in the company of the One of these, the hanging in effigy of the Commanding General of the Department of Secretary of the Interior, Columbus Delano, Columbia, Jefferson C. Davis, and an army by the citizens of Yreka, on April 13,1873, was engineer. Captain Lydecker (Muybridge's photographed by Louis Heller (Yreka Journal, supervisor). Listed in at least one report as an April 14, 1873). This seems to be the earliest army photographer, Muybridge arrived in war-related photographic image ofthe Modoc Yreka on Sunday evening, April 27, 1873 War (Plate 9). A week later, sometime between (Yreka Journal, April 30, 1873). The following April 21 and April 27, Heller started for the day he took several photographs of Yreka. He "front."2 also made at least one view of Mount Shasta, Although the exact dates on which he used the region's most prominent landmark, from a his camera are not known, newspaper accounts hill-top just east of town ( Yreka Journal, April record his return during the week of May 5 30, 1873). On April 30, the Davis party, with some 24 stereo views relating to the including Muybridge, started the two-day Modoc War: march to the lava beds (Yreka Union, May 3, 1873). Although the party arrived at the field STEREOGRAPHIC VIEWS—Louis headquarters on May 2, it seems unhkely that Heller returned from lava bed last week, and is now busy finishing up some beauti Muybridge actually began taking pictures until ful and accurate views of the country in the following day. that section, including pictures of Jack's It appears certain that Heller and Muy cave, Scarfaced Charley's hole, groups of bridge were at the battlefield during at least Warm Spring Indians, soldiers camps, part of the same period. While they both Tule Lake, and the lava bed in sections and photographed some of the same scenes, in in full. Mr. Heller intends getting a copy most instances their work was complementary right for his views, which cannot be ex rather than redundant. Thus, it is important to celled for beauty, shade and artistic finish, he being one of the most accurate and view photographs taken by both men to clearly ingenious photographers on this coast. understand the conditions of the war. Muy When they are ready for sale, they will bridge probably took his photographs between undoubtedly sell with a rush, as everyone May 3 and May 11, 1873,^ with Heller starting 212 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY as much as a week earlier. The battle terrain Both photographers used double-lens cameras that the two men photographed is well charac to produce stereographs of the lava beds and terized by the following description: encampments. Seen through a stereoscope If you can, imagine a smooth, solid sheet of viewer these glimpses of century-old events are granite, ten miles square and five hundred still startlingly clear. Views of actual combat feet thick, covering resistless mines of were virtually nonexistant during the wet-plate gunpowder, scattered at irregular intervals period. The insensitivity ofthe sensitized plates under it; that these mines are exploded plus the time-consuming and cumbersome simultaneously, rending the whole field aspects of their preparation made instantane into rectangular masses, from the size of a ous photography impossible. Moreover, any match box to that of a church, heaping cameraman engrossed in this process was an these masses high in some places, and easy target for a hostile marksman (Taft leaving deep chasms in others. Following 1938:234). the explosion, the whole thing is placed in one of Vulcan's crucibles, and heated up to Although there are no documented a point when the whole begins to fuse and instances of either Heller or Muybridge run together, and then suffered to cool. coming under fire, the possibihty was ever The roughness of the surface remains as present. Heller, for example, was no doubt in the explosion left it, while all below is the war arena during the April 26 attack on the honeycombed by the cracks and crevices Thomas patrol in which dozens of troopers caused by the cooling of the melted rock. were killed (Murray 1959:223-240). Likewise, An Indian can, from the top of one of these Muybridge could have been nearby during the stone pyramids, shoot a man without Battle of Sorass Lake on May 10 (Thompson exposing even so much as an inch square of 1971:97-99).^ himself. He can, without undue haste, load and shoot a common mussle-loading rifle Battlefield photography by 1873, while a ten times, before a man can scramble over novelty, was not unknown. The Mexican War the rocks and chasms between the slain and of 1846-48 had received the attention of a the slayer. If at this terrible expense of life, daguerreotypist. In 1855, Roger Fenton made a force dislodges him from his cover, he has over 300 impressive photographs of the only to drop into and follow some sub Crimean War. Perhaps, however, the best terraneous passage with which he is fa known examples of war photography resulted miliar, to gain another ambush, from from Mathew Brady's patronage and interest which it will cost ten more lives to dislodge in a photographic documentation of the him . . . [Wells 1881:147]. American Civil War (Newhall 1964:67-71; Naturahst John Muir, visiting the Modoc Gernsheim 1969:267-274). Heller's and Muy battlefield a year after the war had ended, was bridge's photographs of the Modoc War are moved to describe the scene as "A gloomy similar to these earher efforts. Neither at place to die in, and deadly looking even tempted to capture the events ofthe war as they without the Modocs" (Osborne 1974:67). actually occurred. Instead they photographed Photography under field condirions was the terrain, the encampments, and the symbols comphcated by the elaborate on-site prepa of war. Surprisingly, it was not until the First ration of the glass-plate negatives. A simple World War that photographers became an move from one location to another, even for a accepted official part of the entourage of war short distance, meant packing one's dark-tent, (Gernsheim 1969:273). The fact that Muy bottles of chemicals, trays, glass-plate boxes, bridge was specifically employed by the camera, tripod, and any other equipment. government to document battlefield con- IMAGEMAKERS OF THE MODOC WAR 213 ditions is precedent-setting. for San Francisco on May 14 (Yreka Union, Although the Modoc War was a small, May 17, 1873) and did not return. His pictures local conflict, the stubborn resistance of were processed and issued by the well-known Captain Jack's band received a great deal of San Francisco firm of Bradley & Rulofson. publicity. Muybridge's documentary efforts Heller produced initial sets of Modoc War were regularly heralded by the San Francisco stereographs under his own name, but soon newspapers, creating a demand for immediate turned to Bradley & Rulofson's principal com photographic glimpses of the "front." Thus petitor, Carleton E. Watkins, for volume pro spurred by demand, both Heller and Muy duction and distribution. bridge attempted to provide an illusion of On May 28, 1873, Army Engineer combat by staging photographs of Indians Lydecker submitted a prehminary report of his (friendly) and infantrymen in war-hke map-making and evaluation of the lava beds, postures. Muybridge, particularly, created including: some dramatic tableaus. One of these was later published in Harper's Weekly (June 21, 1873) . . . copies of the stereoscopic views taken as "Modoc Brave Lying in Wait for a Shot" under my direction by Mr. E.J. Muy (Plate 24). This picture, based on a Muybridge bridge. I trust an examination of these will stereograph (Plate 26), shows an Indian convey a clear idea of the exceedingly crouched behind a rock outcrop with his rifle difficult country in which our forces have extended as though in combat. This fierce been compelled to operate against the Modoc Indians [Haas 1976:51]. looking warrior was not a Modoc, but an Indian scout attached to the United States Even in this instance, Muybridge was not Army (Murray 1959:198-200). exclusive as many Heller photographs were Even in staging war scenes there was a also widely used in government reports.* precedent. In several Civil War images by In the meantime, the war continued. Some Alexander Gardner and Timothy O'SuUivan, ofthe Modoc warriors had been captured, and the body of a soldier killed on the battlefield it was anticipated that the remainder would was moved and manipulated to create a more soon be forced to surrender (Murray 1959: effective portrayal of war (Frassanito 1975: 252-269). On June I, 1873, Captain Jack and I87-I92).5 the remainder of his band were taken prisoners Muybridge has been credited as the first to (Murray 1959:269-270). HeUer immediately provide Modoc War imagery for a national returned to the field to "secure the photo publication. While it is true that Harper's graphs of Capt. Jack and the leading Modocs, Weekly used Muybridge photographs as the who have raised such a war breeze over the basis for woodcut engravings on June 21,1873, country" (Yreka Journal, June 11, 1873). The this was not the first such use. The preceding exact date these photographs were taken is not issue of this magazine is similarly iUustrated known, although June 4 to June 8,1873, seems "from recent photographs" (Harper's Weekly, hkely.7 June 14, 1873) that are unmistakably Louis After his second trip to the scene of the Heller's (compare Plate 18 with Plate 10; also war. Heller returned to Yreka with the Plate 22 with the illustration at the lower right likenesses of many of the captive Modocs: in Plate 11). All of the other illustrations in this Shacknasty Jim, Schonchin, One-eyed Dixie, article may be matched to known Heller Curly-headed Doctor, Hooka Jim, Scarfaced stereographs. Charley, and others—even the names of these Completing his work, Muybridge departed Modoc warriors seemed menacing (Plates 12, 214 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
14, 15). "All of these pictures are from life" changing styles and social attitudes. Gallery crowed the Yreka Journal (June 18, 1873). decor grew ever more elaborate as the Heller soon proceeded to San Francisco "Victorian Parlor" setting became the fashion. where his photographs were mass-produced at The cabinet (4'/2x6'/2-inch) photograph be Watkins' Gallery ". . . 20 women and a number came the dominant medium. What did not of Chinamen being kept constantly at work" change were the basic poses of Heller's sub (Yreka Journal, June 25, 1873). Offered at $4 jects. Full-length portraits made in 1890 ap per dozen (Yreka Journal, July 2, 1873), the pear in much the same postures as those taken card-mounted (oversized, carte de visite style) 25 years earUer. Despite this lack of inno portraits were very popular. Enlarged ex vation, however, Heller's efforts continued to amples "suitable for framing, and hanging up be competent and charming. in saloons or private rooms," were also touted Louis Heller was well-hked in his com (Yreka Journal, July 9, 1873). munity and had many friends. He never On July 12, 1873, Frank Leslie's Illustrated shirked his civic duty, serving as Justice of the Newspaper featured Heller's Modoc warrior Peace for Scott Valley during 1878-79 and portraits on its entire front page (Plate 16). Postmaster for Fort Jones from 1894-98. A However, these pictures, together with others bachelor of long standing, he finally married in mentioned in the Philadelphia Photographer 1889 (Scott Valley News, November 9, 1889). (March 1874), were all credited to Carleton The bride, Ahce O. Daggett, was a sister ofthe Watkins. Heller's later sale of his Modoc ex-Lieutenant Governor of Cahfornia, John negatives to Watkins (Turrill 1918:35)* virtu Daggett. During this same year. Heller opened ally guaranteed his own anonymity as a "war a drugstore in conjunction with his photo photographer." graphy studio. "Being a thorough druggist of many years experience previous to his locating LOUIS HELLER AFTER THE in Fort Jones, he will make it a convenience to MODOC WAR the public and a source of income to himself' (Scott Valley News, April 20, 1889). By the fall of 1873, Heller had returned to his usual routine at his Fort Jones Gallery. To Heller operated his photographic gallery keep up with the times, he provided a number until shortly before the turn of the century. of photographic services usually available only Advertisements for his gallery continue in a more metropohtan setting. One of these through at least mid-1899 (Scott Valley Ad involved the hand-painting of imperial-sized vance, May 18, 1899). portraits, adverstised as follows: In August, 1900, the Heller home (the photography studio was on the second floor) Do not pay double the price to Agents who and a great deal of his personal property was don't know anything about the business, placed on the auction block. The Scott Valley only get your orders and send them to the "Picture Factory," return you a larger Advance (August 2, 1900) hsted a complete picture, taken on a tin plate, doped with a inventory of these items for sale, including: little color and called by these gentlemen a ... one fine, large, gentle driving mare, also new process .... I am permanently located harness and road cart. One first-class milch here, will furnish you a better picture for cow ... Two casks (over 50 gallons each) of half the price [ Yreka Union, October 20, fine J.F. Cutter whiskey . . .[and] a very 1877]. complete photography outfit. Heller's studio portraits made during the After the sale of his Fort Jones holdings, latter part of the century reflect a number of Heller is said to have moved to San Francisco, IMAGEMAKERS OF THE MODOC WAR 215 where he died on June 25, 1928. He reportedly firmed that "Louis Heller, . . . left for the Modoc destroyed all of his remaining glass-plate nega section last week to take views of the lava bed and tives at the time of his move, as "being of no vicinity." "Last week" may mean, Monday, April value" (Schmitt 1960:23). The Heller home still 21—Sunday, April 27, 1873. The most interesting stands on the main street of Fort Jones. clue, however, may be found in the Yreka Journal Known as the "Fort Jones House" the resi of May 7,1873: "The bodies of Major Thomas, Col. dence has recently been placed on the National Wright, Lieut. Howe and Lieut. Sherwood, were brought here (Yreka) last Thursday (May 1) . . . Register of Historic Places. where the three former were embalmed by Drs. While Louis Herman Heller has long been Greer and Ream, the latter (Sherwood) having been an almost-forgotten photographer of the fron embalmed at military headquarters by Louis tier West, much of his legacy hves on. In Heller." Since Thomas, Wright, and Howe were addition to the Modoc War photographs, his killed on April 26, some 7 days had elapsed before early glimpses of mines and mining, home their bodies were embalmed. Sherwood died on steads and towns, and the faces of the pioneers April 14. Assuming 7-10 days to be within the who populated the region contine to provide practical period in which to undertake embalming important reflections of the past. (other accounts in similar circumstances show 14 days to be much too long). Heller would have been ACKNOWLEDGEMENTS at mihtary headquarters during the first half of the week, say April 21-23, 1873. I wish to thank Francis S. Landrum, a long-time student of the Modoc War, for his 3. A dispatch from the battlesite, dated May 8, generous and patient contribution of time and reported that "Mr. Muybridge . . . will start for San Francisco today" (San Francisco Chronicle, May expertise in matters concerning the site of the 10, 1873). The San Francisco Daily Call (May 14, Modoc War. Likewise, I am indebted to 1873) indicated that Captain Lydecker (with whom Martin Schmitt, who has been most helpful in Muybridge is presumed to have traveled) departed providing details of Louis Heller's life. the lava beds on the morning of May 12. The Yreka Humboldt State University Union (May 17, 1873) reported his departure from Yreka on May 14. Areata, California 4. Many writers have mentioned the ease with which the Modocs moved throughout the lava NOTES beds. Reported sightings of hostile Modocs oc 1. Martin Schmitt's article (1960) is well-packed curred daily with witnesses claiming to have seen with particulars concerning Louis Heller. In a members of Captain Jack's band many miles from recent letter to the author he indicated several the battlefield. While the vast majority of these important sources of these details: sightings were unfounded, the Modocs had proven Other information, especially biographi themselves to be masterful in their ability to cal, is from information supplied to Elmo ambush the unwary. Sergeant Michael McCarthy, Scott Watson (Professor of Journalism, a participant in the war, noted: Northwestern University) by Hallie M. There was no question about the good Daggett of Black Bear, Calif and Mrs. fighting qualities of the Modocs. They Adah H. Fitchett of Oakland, Calif, a were very brave and very skillful also and niece of Heller's. Watson, in turn, supplied repulsed all attacks with great loss to the the information to the Photographic troops and no particular loss to themselves Section of the U.S. Army Signal Corps, [Thompson 1971:167]. where I obtained it. 5. Frassanito's (1975) most thoughtful reevalu- 2. The Yreka Union of April 30, 1873, con ation ofthe famous battlefield photographs of Civil 216 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
War Gettysburg clearly cautions us to avoid the pit 9. Researchers often encounter pictures which falls of assuming that photographs and photo defy satisfactory assessment. Plate 33 is a typical graphers are incapable of artifice. example. The caption, written on the original 6. The New York Public Library holds a bound negative, places the event pictured on the volume catalogued Modoc Massacre, the News "BATTLEFIELD IN MODOC LAVA BEDS paper Clippings, mounted from Harper's Weekly WHERE LAST INDIAN VICTORY ON PA and Other Papers, etc.. etc. This book appears to be CIFIC COAST WAS WON." This would be the an official compendium of reports, letters, photo assauk on the Thomas patrol on April 26, 1873 graphs, and other memorabilia relating to the (Thom-pson 1971:79-92). In recent letters to the Modoc conflict. The Lydecker (1873) report and author, Francis S. Landrum described this picture: The Modoc War (Anonymous 1873) also appear in I have a photo taken of a rock strewn this volume. The most interesting aspect of this sagebrush field. In it lie seven or eight work is the profusion of tipped-in photographs. "bodies" [X's], clothed but apparently very Both Heller and Muybridge images are well-repre dead ... The hill in the field is Thomas Hill sented. Portraits of many of the prominent army ... A stone cairn has been piled up [at A] officers are also present. It would appear that this ... I have located the exact site of the photo volume was bound after 1873, perhaps in 1874, in the Thomas battlefield . . . Today the since post-war views of the Warm Spring Indians cairn is strewn about and at its base is a (scouts for the army) taken in San Francisco, also depression, like an opened grave. As there appear. Besides Heller and Muybridge, other San was a mass grave ... I think this is it. . . Francisco photographers represented include: But, who took the foto, and when? Bradley & Rulofson, C.E. Watkins, Thomas It could have been taken by someone on Houseworth, and I.W. Taber. April 27th (Heller?), prior to the march 7. Curly-Haired Jack appears in a Heller photo back (the body count is correct)... It could graph (Lost River Murderers, seated version). In a have been taken May 9th (Heller or Muy recent letter to the author, Francis S. Landrum bridge) when a complement was sent out to raises an interesting point: pick up the remains ... (or, lastly) It could Curly Haired Jack committed suicide at have been taken when Capt. Hasbrouck's Peninsula Camp (Boyles) prior to the funeral detail removed the bodies from the prisoners' departure to Fort Klamath. Thomas she ... (Hasbrouck departs about Schofield to Sherman, June 12, 1873, in August 25, 1873). HR Document 122, ". . . trial will take Historian Erwin Thompson believes that the place at Fort Klamath, to which prisoners picture is a post-war reenactment (Thompson 1971: are now enroute." I can't give you a more Map 7). Both Landrum and Thompson have precise date than "after June 4 and prior to investigated several dozen particulars relative to say June 9th." Say they left June 9th; add this subject. So far, the results of their investi two days courier time to Yreka plus a day gations remain inconclusive. travel toward the fort (more or less) equals For those who might enjoy the research process 12 June. by which a battlefield photograph may be investi gated, the author recommends Frassanito's Gettys 8. Photographs of the Modoc War were burg: a Journey in Time (Frassanito 1975). marketed after the close of the conflict. Bradley & Rulofson continued to offer the Muybridge stereo REFERENCES graphs, while Carleton Watkins published Heller imagery as his own. It is also possible that the Heller Anonymous negatives came under the control of I.W. Taber 1873 The Modoc War; Statement of its Origin during his takeover of much of Watkins' holdings and Causes, Containing an Account of (Turrill 1918:35). the Treaty, Copies of Petitions, and IMAGEMAKERS OF THE MODOC WAR 217
Official Correspondence. Portland: Bul Osborne, Lewis, ed. letin Steam Book and Job Printing 1974 Notes on My Journeying in California's Office. Mountains, by John Muir. Ashland: Bradley & Rulofson Inland Press. 1873 Catalogue of Photographic Views Illus Riddle, Jeff C. trating the Yosemite, Mammoth Trees, 1914 The Indian History ofthe Modoc War; Geyser Springs, and other Remarkable and the Causes that Led to It. San and Interesting Scenery of the Far West. Francisco: Mamell. (Reprinted 1973, San Francisco: Bradley & Rulofson Pine Cone Publications, Medford, Ore Gallery of Portrait and Landscape gon.) Photographic Art. Schmitt, Martin Dillon, Richard 1960 War in the Parlor. The Call Number 21 1973 Burnt-out Fires. Englewood Cliffs: Pren (2). Eugene: University of Oregon Press. tice Hall. Taft, Robert Frassanito, William A. 1938 Photography and the American Scene: 1975 Gettysburg: A Journey in Time. New A Social History, 1839-1889. New York: York: Scribner & Sons. Macmillian. Gernsheim, Helmut, and AUson Gernsheim Thompson, Erwin N. 1969 The History of Photography from the 1971 Modoc War: Its Mihtary History & Camera Obscura to the Beginning of the Topography. Sacramento: Argus Books. Modern Era. New York: McGraw-Hill. Turrill, Charles B. Haas, Robert Bartlett 1918 An Early California Photographer: C.E. 1976 Muybridge: Man in Motion. Berkeley: Watkins. News Notes of California University of CaUfornia Press. Libraries 13(1). Hendricks, Gordon Wells, Harry L. 1975 Eadweard Muybridge: The Father ofthe 1881 History of Siskiyou County, California. Motion Picture. New York: Grossman. Oakland: D.J. Stewart & Co.
Lydecker, G.J. Newspapers 1873 Report Upon a Reconnoissance of the Lava Bed (Modoc Campaign), Oregon. Frank Leslie's Illustrated Newspaper (Appendix FF of the Annual Report of the Chief of Engineers for 1873). Harper's Weekly Washington: U.S. Government Printing San Francisco Chronicle Office. San Francisco Daily Call Mozley, Anita Ventura, ed. Scott Valley Advance 1972 Eadweard Muybridge: The Stanford Years, 1872-1882. San Francisco: Scott Valley News Stanford Museum of Art. Yreka Journal Murray, Keith A. Yreka Union 1959 The Modocs and Their War. Norman: University of Oklahoma Press. Newhall, Beaumont 1964 The History of Photography from 1839 to the Present Day (rev. ed.). New York: Museum of Modern Art. 218 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
CATALOGUE AND NOTES ON 1601 —The Peace Commission Tent, and Stone on THE MODOC WAR PHOTOGRAPHS Which Gen. Canby Was Sitting When Shot by Capt. Jack. Stereographs of the Modoc War by 1602—Capt. Jack's Cave in the Lava Beds. Eadweard Muybridge (May 3-11, 1873) —(version 2). —(version 3). At least 50 stereograph views ofthe Modoc —(version 4). War are known. The precise number of images 1603—Panorama of Lava Beds from Signal that Muybridge actually made is uncertain and Station at Tule Lake, Camp South. newspaper accounts of the period vary: 50 1604—Panorama of Lava Beds from Signal (Yreka Union, May 10, 1873; San Francisco Station at Tule Lake, Camp South. 1605—Panorama of Lava Beds from Signal Daily Call, May 10, 1873); 60 (San Francisco Station at Tule Lake, Camp South. Chronicle, May 10, 1873); and 70 (Yreka 1606 — Panorama of Lava Beds from Signal Union, May 17, 1873). The Muybridge stereo Station at Tule Lake, Camp South. graph series is numbered 1601-1631. A cata 1607 — Panorama of Lava Beds from Signal logue issued by Bradley & Rulofson in 1873 Station at Tule Lake, Camp South. shows preceding stereograph #1600 "City 1608—Tule Lake, Camp South, from the Signal Front, from the Potrero (San Francisco)" Station, Tule Lake in the distance. while stereograph #1632 begins a series on the 1609 —Tule Lake, Camp South, Tule Lake in the "Cliff House" (Bradley and Rulofson 1873:26). distance. This same catalogue hsts a total of 31 Muy 1610—Schonschi—Schonschis Rock, Lava Beds in the bridge Modoc stereographs (Bradley & distance. Rulofson 1873:32). 1611 —Schonschis Rock, Tule Lake in the The inconsistency between the 31 images distance. shown in the catalogue and the 50 examples —(version 2). 1612 — Bogus Charhe's Cave in the Lava Beds. observed by the author may be accounted for —(version 2). by the fact that certain numbers ofthe Modoc 1613 —Schaknastie Jim's Camp in the Lava Beds. series were issued with entirely different —(version 2). images. For example, Muybridge stereograph 1614 —Bluff to West of Tule Lake. #1602 "Capt. Jack's Cave in the Lava Beds" 1615—On the start for a Reconnoissance of the exhibits at least four variations of image (see Lava Beds. Usting below) (also compare Plates 19 with 20, 1616 —On the Lookout for an Attack at a Picket and 29 with 30). It should be kept in mind that Station. additional variations may exist, unknown at 1617 —Bringing in the Wounded After an Engage this time. ment During the Modoc Indian War. The Muybridge Modoc War views are 1618 —The Modoc Stronghold after its Capture. accounted for in the Copyright Office (1873: 1619—The Lava Beds, No. 1. —The Lava Beds, No. 2. 6262-6292) (Schmitt 1960:23). While many —The Lava Beds, No. 3. institutions hold Muybridge Modoc imagery, —The Lava Beds, No. 4. the National Archives, Washington, D.C, and —The Lava Beds, No. 5. the Bancroft Library, University of CaUfornia, —The Lava Beds, No. 6. Berkeley, are prime sources. The following —The Lava Beds, No. 6. listing has utiUzed titles of actual Muybridge —The Lava Beds, No. 7. stereographs. No attempt has been made to —The Lava Beds, No. 8. correct either spelling or grammar. —The Lava Beds, No. 9. IMAGEMAKERS OF THE MODOC WAR 219
—The Lava Beds, No. 10. 2502 —Lava Bed, looking East, showing Soldier's —The Lava Beds, No. 11. Cemetery. —The Lava Beds, No. 12. 2503 — Headquarters on Tule Lake, taken N.E. 1620—The Lava Beds. from Bluff 1621 —Generals Jeff C. Davis, Hardie, Gillem, and 2504 — Headquarters on Tule Lake, taken North Officers of the Modoc Commission. from Bluff. 1622—Donald McKy, the celebrated Indian 2505 — Headquarters and Bluff, view taken from Scout. beyond picket line, looking North West. 1623—Donald McKy, the celebrated Warm 2506 — Donald McKay, Captain of the Warm Spring Indian Scout. Spring Indians. —(version 2). 2507 —Group of Warm Spring Indians. 1624—Mrs. Riddell, (Toby), (the Squaw who 2508 —View of the spot where Gen. E.R.S. Canby cautioned General Canby of his impending and the Peace Commissioners were fate), and Riddell her husband. murdered by the Modocs. The down 1625 —One-eyed Dixie and Modoc Squaws. trodden grass and small pegs in the fore 1626 — A Modoc Brave on the War Path. ground show where the Peace tent was 1627—A Modoc Brave on the War Path. pitched at the time of the Massacre. The 1628—Warm Spring Indian Scouts in Camp. cross designates the spot where Gen. Canby —(version 2). sat when first fired at by Captain Jack. 1629—Warm Spring Indian Scouts in the Field. 2509—Captain Jack's stronghold, (Scarfaced 1630—Warm Spring Indian Scouts on Picket Charley's Cave), now held by the troops. Duty. 2510—Capt. Jack's Cave, looking North West. 1631 —"Our Own Correspondent" in the Lava 2511 —Capt. Jack's Cave, showing Modoc fortifi Beds. cations on top—looking West. Stereographs of the Modoc War by 2512 — Medicine Flag Rock, where the Medicine Louis Heller Flag floated during the three days' fight. 2513 — View of Capt. Jack's stronghold in the Lava Twenty-four Heller stereographs are Bed, showing Modoc fortifications in fore known. An 1873 Usting pubUshed in the Yreka and backgrounds. Mount Shasta in the Journal (May 21, 1873) coincides with known distance, view looking South West. examples. The series is numbered 2501-2524; 2514—Battery of howitzers in position in Capt. however, paste-over numbering as No. I, No. Jack's stronghold. 2, etc. has been observed. No examples are 2515 —View of Lava Bed, near Mason's camp. hsted in the Copyright Office (Schmitt 1960: 2516—View of Lava Bed, looking South West. 23). 2517 —View of Lava Bed, showing Signal Station The University of Oregon Library has a at Mason's camp. complete set of original examples. The majori 2518 —View of Lava Bed, looking West, showing ty of examples in their set bear the notice Bluff and Van Bremer's Hill in the distance. "Stereoscopic views by Louis HeUer, Yreka, 2519—View of Lava Bed, looking North East, showing the Modoc fortifications in back Cal." and a copyright notice. Other examples ground. show the legend "Watkin's Pacific Coast." 2520 — View of Lava Bed, looking North West. Photographs on the foUowing Ust were taken 2521 —View of Lava Bed, looking South East, between an estimated starting date of April 21- showing the spot where the Modocs 27, 1873, and an estimated completion date of camped, and to the right the trail by which May 5-11, 1873. they escaped from their stronghold. 2522 — View of Shasta Valley and Mount Shasta, 2501 —Lava Bed, looking South East. looking South East. 220 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
2523—View of the town of Yreka, Siskiyou JACK'S FAMILY—Lizzy (young wife), Mary (his County, California, looking West. sister). Old Wife & Daughter 2524 —View of Miner Street, Yreka. LOST RIVER MURDERERS (standing version) LOST RIVER MURDERERS (seated version) Louis Heller Photographs of MODOC SQUAWS Captive Modoc Warriors (June 4-11, 1873) ONE-EYED DIXIE ONE-EYED MOSE Twenty-four are known, including one SCAR-FACED CHARLEY variation of the "Captain Jack" likeness SCHONCHIN (Plates 12 and 13). Note that this variafion is SCHONCHIN AND JACK (seated version) the result of manipulation by an artist rather SCHONCHIN AND JACK (standing in chains than separate original images. All images are version) card-mounted, oversized (3%x5-inch) carte de SHACKNASTY JIM visite style prints. The foUowing phrase ap SHACKNASTY JIM, HOOKA JIM, STEAM pears on the face of the mount "I certify that L. BOAT FRANK, FAIRCHILD Heller has this day taken the photographs of STEAMBOAT FRANK the above Modoc Indian prisoner under my charge—Capt. CB. Throckmorton, 4th U.S. Other Modoc War-related Images by Artillery, Officer of the Day. I am cognizant of Louis Heller the above fact—Gen. Jeff C Davis U.S.A." Other known examples of HeUer photo The verso of the mount is imprinted with an graphic imagery related to the Modoc conflict advertisement for "Watkins' Yosemite Art include the "effigy" photograph of April 13, Gallery." 1873. HeUer is also known to have produced a The series is not numbered, although some number of portraits of individuals and mihtary examples from the Library of Congress figures who were directly or indirectly involved holdings show an overprinted number in the Modoc episode. Generally, this material sequence, #400, 401, etc. These numbers ap post-dates the actual Modoc War period. pear in the upper right-hand corner ofthe card- face and the highest number observed was Additional Sources of Modoc Imagery #417. Other examples of this series, not known to the author, may exist. A copyright notice is In addition to the sources of original on file for 12 of this series (1873:7453-7464) Modoc pictures mentioned, note should be (Schmitt 1960:23). Many institutions hold made ofthe volume of tipped-in Modoc photo original examples of this material, but none to graphs held by the New York PubUc Library my knowledge, has a complete set. (Note 6). Also, one of the most complete and readily avaUable sources of Modoc views (half BLACK JIM tone reproductions) is Jeff Riddle's The Indian BOGUS CHARLEY History ofthe Modoc War (Riddle 1914). BOGUS CHARLEY, WIFE AND CHILD Modoc War photographic views formerly BOSTON CHARLEY provided by the United States Army Signal BURGESS AND BOGUS CHARLEY CAPTAIN JACK (two versions, one the product of Corps display identification numbers within artistic manipulation) the image area. Most such numbers will occur CURLY-HEADED DOCTOR within the foUowing: 82280-82318, 82553- DONALD McKAY AND JACK'S CAPTURERS 82564, 83165-83170, and 83686-83703. These HOOKA JIM numbers are sometimes confusing, since some IKE pictures appear to have two different numbers. IMAGEMAKERS OF THE MODOC WAR 221
This may be accounted for if each half of the Mention should also be made of the ex stereo negative received its own number. ploitive photographic studies of individuals Other sources of Modoc War photographs made famous as a result of the Modoc War, not already listed include: California Histori such as the views of Warm Spring Indian cal Society, Siskiyou County Museum, Ore Scouts photographed and marketed by House- gon Historical Society, Lava Beds National worth & Company (ca. 1874). Note as weU the Monument, Modoc County Museum, CaU possible photographic reenactment of a fornia State Library, Library of Congress, Modoc event "BATTLEFIELD IN MODOC Klamath County Museum, Arizona State LAVA BEDS WHERE LAST INDIAN VIC Museum, Southwest Museum, and the Smith TORY ON PACIFIC COAST WAS WON"? sonian Institution. (Plate 33). 222 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
Plate 1. Eadweard J. Muybridge (1830-1904). IMAGEMAKERS OF THE MODOC WAR 223
Plate 2. Louis Herman Heller (1839-1928). Photograph taken July, 1861, probably in New York. 224 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
Plate 3. Louis Herman Heller, ca. 1891. IMAGEMAKERS OF THE MODOC WAR 225
Plate 4. Jacob Hansen, Heller's assistant in the Yreka Photograph Gallery. Note the 4-lens carte de visile camera—ca. 1869.
Plate 5. A Heller carle de visile, ca. 1870. Possibly an early glimpse of Somes Bar or Forks of Salmon. 226 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
Plate 6. A Heller stereograph of hydrauhc mining in the Oro Fino area.
Plate 7. "Drovers"? A carte de visile taken in Heller's Fort Jones studio about 1870-72.
L. t^El.LER, PHOTOQBAPHEP,
fORT JONES. SISKIYOU CO.. CAL. IMAGEMAKERS OF THE MODOC WAR 227
Plate 8. Pioneer hunter and trapper, Stephen H. Meek (1807- 1889). Photo taken by Heller about 1876.
Plate 9. Perhaps the earliest photograph taken as the result of ,• f ', -,., r,; the Modoc War. This "hanging in effigy" of Secretary of .-•n:i'iii:N i: \II:I:K Interior, Columbus Delano, on the main street of Yreka, was photographed by Louis Heller on April 13, 1873. •& 228 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY
VOL. XVII.—NO. 85'J.]
DOMALD M-KAY. THE LA' L UED KEOIOH-OENEHAL VIEW OF LAMf A^D l-\R.E.
If the eilniDrilinarf report which re«hto m from OUR INDIAN ALLIEa numberof ihe-^Teri munJerefm,of whoM '"loral- Bui II u ai'uming a refy dajiBerom reipoiul- (he laiB bcdi b« imo, that G
OROTT or 1 ti.so INDIANS. OUR INDIAN ALLIK> Illf: MODOC WAR Plates 10 and 11 (facing page). The Modoc Indian Waras pictured in Harper's Weekly, June 14, 1873. These illustrations were "engraved, with one exception, from recent photographs" and are unmistakably patterned after Heller's stereographs of the Modoc war-site. IMAGEMAKERS OF THE MODOC WAR 229
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SI C/5 2 — fegoa ii as 'WiyulU'w.tt n ttiOM^ ;0 uwHVJqn •Ml Jo aogjoain ai'armil T iq *l::«l jvjf jqj •) 'nojSaoj jo pv ») 3aiW ^^ItHC ^M ^ 1*1 B*^ ij-_\ ,„ WN \ IU>N>C ECTKina. Plate 16. Frank Leslie's Illustrated Newspaper of July 12, 1873, showing engravings made from Louis Heller's photographs of the Modoc prisoners. Note that these images are credited to C.E. Watkins. IMAGEMAKERS OF THE MODOC WAR 233 t:iiirrr.1 WMrJlaii Is A«l «V<-'ci,(i«ai. ID lb« JMT 1 am, bj L lliii.a, In (he ^n of Ihe Ubrmrlvi QfCnsnTO, u ti •uubj^tuO' ' 3 ^r ^^^^^B^^?^^^ i^ak' 2.cp\W^ e ^S^^^^^T^^^^^^^^B.'' 5 l'"> " k-4 ^^^^^v' Mr~' ' "^^ Q "^ iV MT ^^^^^^^^^^^^^^^1 ^^^^^^^j,^^^)BPS'i'*'nMEi^iSM^ !»Zc •slJ- 5 rn c • p 51 - 5^ «=: =• en — o ^^^^^V)^^^B|fHHB|^E3 '<^ ^^£S., r\ •^'^C—' ^^H "o 1 ^ ^K^^^^JPC^I, J^^^^^^ H ,JHBT' ,^^^^^^^^H -s a S ^^^^^^r 'yjSir ^^^^^^^^^^^M s2. ?• S ^^^^^^El ^r-W^^^^.^H^^^X 1 ip o_ a — O r- ^^^^^^Bu^-i ^f ' i7^ K.C'/^'TB H^^rlkA HiM^/^' j^H ' Plate 17. Donald McKay (center), leader ofthe Warm Spring Indian Scouts with two of his fellows. These men were attached to the U.S. Army and participated in Captain Jack's capture. Photo by Heller. Plate 18. Compare the image (#2507) with the illustration at the botton of Harper's Weekly (Plate 10). Although the artist, who prepared the engraving, added a mountain range in place of Tule Lake the resemblance of the men's posture to the Heller stereograph is identical. 234 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY Plates 19 and 20. Muybridge stereograph #1612, "Bogus Charlie's Cave in the Lava Beds" showing two variations of the same site appearing with the same caption and number. Plate 21. Muybridge stereograph #1616, as it appeared (reversed) in Harper's Weekly on June 21, 1873 (Plate 24). IMAGEMAKERS OF THE MODOC WAR 235 Plate 22. Comparison of this stereograph (#2514) with the illustration at the right-hand bottom of the Harper's Weekly (Plate 11) shows that the artist has added a second soldier. In all other respects the scenes are identical. Plate 23. Heller stereograph (#2504) showing the military encampment and headquarters on Tule Lake. This view is typical of the unique role that such photographic documents play in describing the events of the Modoc War. 236 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY Ji-OT 21,1H7:1.T lIARrr.K'.^ WEEKLY Plate 24 Harper's Weekly of June 21, 1873, showing woodcut engravings patterned "From flate Z4. narpersj^ttKiyyj , courtesy of Bradley & Rulofson, San Photographs by Muybridge, furnished by the courtesy oi oia y Francisco." IMAGEMAKERS OF THE MODOC WAR 237 , ibid—A Mo., ^ Plate 25. Muybridge stereograph #1626. "^ X o o o . > J 5d : I". Plate 26. Muybridge stereograph #1627, -i "A Modoc Brave on the War Path." Appeared in Harper's Weekly (Plate 24). The Indian pictured here and in Plate 25 o is not a Modoc at all, but a Warm -n Spring Indian Scout attached to the U.S. Army. 238 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY C cd i llustratod by MUYBRIDGE, Published by BRADLEY i RULOFSON IMAGEMAKERS OF THE MODOC WAR 239 '.l:KL J,V,LUJJOG 'VVrAK. i:iu'.;ia»rt1 by MUYBRIDGE, Published by BRADLEY i RULOFSON 00 c Illustrated by MUYBRIDGE Published by BRADLEY i RULOFSON. o X 240 THE JOURNAL OF CALIFORNIA ANTHROPOLOGY > i^i^Trtr 1M3, by K.lw, .1. U'lyft'smi of itiA UbnrtftR Af r^nffrn««, nt If^idittlastBB, tt. c. •^ • o o w #) Plate 31. Muybridge stereograph #1619—No 2. This image clearly shows the conditions that confronted the U.S. Army in their efforts to dislodge Captain Jack and his small band of Modoc Indians. Views such as this accompanied an official government report on the Modoc war-site. Plate 32. Heller stereograph #2512 showing Medicine Flag Rock, part of the Modoc War terrain. IMAGEMAKERS OF THE MODOC WAR 241 Plate 33. Actual Modoc War scene or post-war reenactment? This mysterious photograph defies efforts to discover the circumstances of its origin. See Note 9. ILLUSTRATION CREDITS The images reproduced here are courtesy of the following institutions and individuals: California State Library, Pis. 10, 11, 24; Siskiyou County Museum, Pis. 2, 3,4,5,8, 12,13,14, 15, 17; Mr. and Mrs. Earl F. Herzog, PI. 7; University of Oregon Library, Pis. 18, 22, 23, 28, 32; New York Public Library, PI. 16; Bancroft Library, University of California, Berkeley, Pis. 1,19, 20, 21, 25, 26, 27, 29, 30; Francis S. Landrum, PI. 33. Plate 6 is from the author's collection.