Soldier Artist Of The Great Reconnaissance

In 1853, a survey team under Amiel W. Whipple set out for California from Fort Smith, Arkansas, in search of a transcontinental railroad route. In addition to studying the engineering obstacles for the railroad, the party collected natural history specimens in this unexplored and dangerous corner of America—and when the expedition entered New Mexico, it requested an additional military escort to guard against hostile Indians. An 1848 West Point graduate, Lt. John C. Tidball had only recently arrived at Fort Defiance in New Mexico, when he received his orders to join the surveying party. Although his official duties were strictly military, Tidball began sketching as soon as he joined the expedition, and his talents made him an indispensable member of Whipple’s artistic staff. This book offers a new look at the Whipple expedition through the lens of a newly discovered manuscript of Tidball’s memoirs—the only firsthand account of the 35th parallel survey to be discovered in nearly thirty years. Soldier-Artist of the Great Reconnaissance includes much of the material from this manuscript, giving us John Tidball’s pungent observations on the journey as well as striking examples of his artwork. Melding the observations of several diarists—which sometimes presented opposing viewpoints—author Eugene Tidball offers a new perspective on the Whipple expedition that focuses on the diverse personalities of the party and on the Native Americans they encountered along the way. The Pacific Railroad Surveys were among the most important explorations of North America ever undertaken. Eugene Tidball’s account of this journey tells how the artistic and literary contributions of John Tidball, his distant cousin, enrich our understanding of what the survey party saw and thought as they crossed the continent. Soldier-Artist of the Great Reconnaissance recaptures the Whipple expedition’s trials and triumphs as it documents the unusual talents of one of its most versatile members.

For nearly half a century, celebrated historian Ron Tyler has researched, interpreted, and exhibited western American art. This splendid volume, gleaned from Tyler’s extensive career of connoisseurship, brings together eight of the author’s most notable essays, reworked especially for this volume. Beautifully illustrated with more than 150 images, Western Art, Western History tells the stories of key artists, both famous and obscure, whose provocative pictures document the people and places of the nineteenth-century American West. The artists depicted in these pages represent a variety of personalities and artistic styles. According to Tyler, each of them responded in unique ways to the compelling and exotic drama that unfolded in the West during the nineteenth century—an age of exploration, surveying, pleasure travel, and scientific discovery. In eloquent and engaging prose, Tyler unveils a fascinating cast of characters, including the little-known German-Russian artist Louis Choris, who served as a draftsman on the second Russian circumnavigation of the globe; the exacting and precise Swiss artist Karl Bodmer, who accompanied Prince Maximilian of Wied on his sojourn up the Missouri River; and the young American Alfred Jacob Miller, whose seemingly frivolous and romantic depictions of western mountain men and American Indians remained largely unknown until the mid-twentieth century. Other artists showcased in this volume are John James Audubon, George Caleb Bingham, Alfred E. Mathews, and, finally, Frederic Remington, who famously sought to capture the last glimmers of the “old frontier.” A common thread throughout Western Art, Western History is the important role that technology—especially the development of lithography—played in the dissemination of images. As the author emphasizes, many works by western artists are valuable not only as illustrations but as scientific documents, imbued with cultural meaning. By placing works of western art within these broader contexts, Tyler enhances our understanding of their history and significance.

A reassessment of the military's role in developing the Western territories moves beyond combat stories and stereotypes to focus on more non-martial accomplishments such as exploration, gathering scientific data, and building towns.

The Utah War—an unprecedented armed confrontation between Mormon-controlled Utah Territory and the U.S. government—was the most extensive American military action between the U.S.-Mexican and Civil Wars. Drawing on author-editor William P. MacKinnon’s half-century of research and a wealth of carefully selected new material, At Sword’s Point presents the first full history of the conflict through the voices of participants—leaders, soldiers, and civilians from both sides. MacKinnon’s lively narrative, continued in this second volume, links and explains these firsthand accounts to produce the most detailed, in-depth, and balanced view of the war to date. At Sword’s Point, Part 2 carries the story of the Utah War from the end of 1857 to the conclusion of hostilities in June 1858, when Brigham Young was replaced as territorial governor and almost one-third of the U.S. Army occupied Utah. Through the testimony of Mormon and federal leaders, combatants, emissaries, and onlookers, this second volume describes the war’s final months and uneasy resolution. President James Buchanan and his secretary of war, John B. Floyd, worked to break a political-military stalemate in Utah, while Mormon leaders prepared defensive and aggressive countermeasures ranging from an attack on Forts Bridger and Laramie to the “Sebastopol Strategy” of evacuating and torching Salt Lake City and sending 30,000 Mormon refugees on a mass exodus and fighting retreat toward Mexican Sonora. Thomas L. Kane, self-appointed intermediary and Philadelphia humanitarian, sought a peaceful conclusion to the conflict, which ended with the arrival in Utah of President Buchanan’s two official peace commissioners, the president’s blanket pardon for Utah’s population, and the army’s peaceful march into the Salt Lake Valley. MacKinnon’s narrative weaves a panoramic yet intimate view of a turning point in western, Mormon, and American history far bloodier than previously understood. With its sophisticated documentary analysis and insight, this work will stand as the definitive history of the complex, consequential, and still-debated Utah War.

The 1848 treaty of Guadalupe Hidalgo that ended the Mexican-American War described a boundary between the two countries that was to be ascertained by a joint boundary commission effort. The section of the boundary along the Rio Grande from Presidio to the mouth of the Pecos River was arguably the most challenging, and it was surveyed by two American parties, one led by civilian surveyor M. T. W. Chandler in 1852, and the second led by Lieutenant Nathaniel Michler in 1853. Our understanding of these two surveys across the greater Big Bend has long been limited to the official reports and maps housed in the National Archives and never widely published. The discovery by Orville B. Shelburne of the journal kept by Dr. Charles C. Parry, surgeon-botanist-geologist for the 1852 party, has dramatically enriched the story by giving us a firsthand view of the Chandler boundary survey as it unfolded. Parry’s journal forms the basis of From Presidio to the Pecos River, which documents the day-to-day working of the survey teams. The story Shelburne tells is one of scientific exploration under duress—surveyors stranded in towering canyons overnight without food or shelter; piloting inflatable rubber boats down wild rivers; rising to the challenges of a profoundly remote area, including the possibility of Indian attack. Shelburne’s comparison of the original boundary maps with their modern counterparts reveals the limitations of terrain and equipment on the survey teams. Shelburne's book provides a window on the adventure, near disaster, and true accomplishment of the surveyors’ work in documenting the course of the Rio Grande across the Big Bend region.