Peoples of the Plateau: The Indian Photographs of Lee Moorhouse, 1898-1915.
Steven L. Grafe. Foreword by Paula Richardson Fleming. Norman:
University of Oklahoma Press, 2005. 221 pp. (Co-published with National
Cowboy and Western Heritage Museum.)
Reviewed by Joanna Cohan Scherer
This
book is a biographical sketch of a pioneer photographer, Thomas Leander
“Lee” Moorhouse. It provides a high-quality printing of 114 of his
Native American images reproduced on glossy paper that does justice to
the people and places pictured. The text, however, is not an academic
study (with source references) of Moorhouse’s work, despite the fact
that Steven L. Grafe has published scholarly articles on the
photographer in other venues (Grafe 1997/1998, 1998).
Moorhouse’s
photographic career spanned the years from 1897 to about 1915, during
which time his main goal was recording local history around Pendleton,
Oregon. He produced images of eastern Oregon ranch life, railroad
activity, pioneer town scenes (such as Fourth of July celebrations),
commercial enterprises (including the Pendleton Round-Up), and
photographs of Native Americans (including members of many Plateau
groups: Cayuse, Yakima, Umatilla, Colville, Walla Walla, Palouse,
Wisham, Warm Springs, Nez Perce, Flathead, Bannock Indians from the
Great Basin, and Crow Indians from the Plains culture area). He created
or collected about 9,000 glass plate negatives that are currently
housed in the University of Oregon Library, Portland, the National
Anthropological Archives in Washington, D.C., and the Umatilla County
Historical Society in Pendleton.
Moorhouse
was a man of many interests and talents—an Oregon businessman in the
clothing trade and later in insurance, a rancher, a civic leader who
was mayor of Pendleton in 1885, an Indian Agent of the Umatilla Indian
Reservation from May 1889 to August 1891 (as a result of a political
appointment for services to the Republican party), and an avid
collector of Indian artifacts.
He
defined himself as an authority on local Indian culture and considered
himself a photographic artist. His pictures were sold commercially as
postcards and used as official promotion materials for the blankets
manufactured by the Pendleton Woolen Mills. While his photography
business was but one of his livelihoods, I cannot agree with Grafe that
Moorhouse should be considered an amateur photographer. Photography
businesses in pioneer towns were often not the sole source of income of
their proprietors and the fact that he had his studio in his home, that
he used outdoor lighting (at a time before the flash came into
practical use) and that he used props did not make him less a
professional. Many professional pioneer photographers had home studios
and worked in other fields as well. That he intentionally created and
left a huge collection of photographs, and that these images were
intended to visualize a time and place in history should give him the
distinction of being considered a professional photographer.
Grafe
notes that one of the important aspects of the Moorhouse Indian
collection is that he usually identified his subjects by name (p. 4),
thus avoiding a common practice among some turn-of-the-20th-century
photographers of Native Americans of presenting their Indian
photographs as generic images of a “vanishing race.” However, it is
unclear how careful Moorhouse actually was. For example, as Grafe
himself points out in plate 16, although labeled Umatilla by Moorhouse,
two of the identified people photographed were in fact Cayuse. Also, as
I have observed elsewhere, Moorhouse’s penchant for labeling
individuals with names (I discussed the case of Frank Randall, a
Bannock from the Fort Hall Indian Reservation) and tribal
identification, and then adding his own signature, appears to be a sort
of branding of the image (Scherer 2006:63-64).
That the photographer could own (indeed contemporary photographers
still own their own negatives and the rights to use their images) and
copyright these images is, and was, an expression of the unequal power
that exists in photography. How that unequal power evolves is an
interesting fact of history. Moorhouse received some profits from his
Indian images, but more significant is the value of his extensive
picture record of Native Americans and Anglo pioneers from the Plateau
area to the visual history of this region.
One
cannot help but wonder what inducement the photographer gave to men
such as the Cayuse Indian Dr. Whirlwind (plate 4) who posed in
Moorhouse’s front yard studio before a backdrop, clothed in a trade
blanket that the author says was one of Moorhouse’s studio props. Since
many male Plateau Indians owned such blankets and wore them in this
characteristic fashion, folded and wrapped around the waist, I would
have liked to know the source for Grafe’s information about this
particular blanket as part of the photographer’s collection (see Kapoun
1992:11, 44). The Pendleton mill, which was
incorporated in 1895, marketed its products to Indian reservation
markets. The Umatilla people helped advertise the colorful Pendleton
blankets and modeled the robes for brochures that were made for traders
and Indian agents around the country. As a promoter and booster of
Pendleton’s business, an important purpose of many of Moorhouse’s
Indian portraits, in which blankets are prominently displayed (plates
22, 57, 79), was probably as advertisement for the woolen industry. In
many of Moorhouse’s Indian photos, the subject either stands on a
blanket or a blanket is used as an item of clothing. A good
illustration of this is the image of Chief Joseph, who is pictured
wrapped in an early Pendleton blanket (plate 12, p. 66; also reproduced
in Kapoun 1992:30). It is interesting to note that
on a cover of the 1901 Pendleton catalog, this Moorhouse image of Chief
Joseph was used, but he is shown wearing a different Pendleton blanket
(Kapoun 1992:124).
I
am also somewhat intrigued by plate 3. It shows Moorhouse posed with
his rifle and natural history specimens, including stuffed deer and
birds, and part of his collection of Indian artifacts. But the American
flags in the background make me question whether this photograph was
printed backwards. It clearly shows the stars on the upper right rather
than left. While the handwritten notation, “Major Moorhouse’s Indian
Curios Pendleton Or.” would lead the viewer to orient the image as
published, it is unlikely that the American flags on the wall would
have been displayed in this manner. This suggests that the labeling of
the images (presumably by Moorhouse) can confound as well as enlighten.
Although
it is not the definitive work on this prolific photographer that I had
hoped for and that Grafe is obviously capable of contributing, I
nonetheless enjoyed this book. I am also grateful that Grafe
reproduces, with proper credit, Indian photos that Moorhouse collected
but did not make himself. This book reproduces, for example, some
photographs of Plateau Indians made by Thomas H. Rutter (plates 57,
75-80) and some by O. G. Allen (figure 4, plates 34-35). Many
photographers of this period had their collections broken up, so it was
not unusual for photographers such as Moorhouse to own and
incorporate the works of other photographers in their own collections.
I am just glad that Grafe took the care and time to bring the correct
maker of these images to the reader’s eye.
References CitedGrafe, Stephen L.
1997-1998 “Lee Moorhouse: Photographer of the Inland Empire.” Oregon Historical Quarterly. 98(4):426-476
1998
“Lee Moorhouse, Umatilla Indian Agent.” Pioneer Trails (Umatilla
County Historical Society). 22(1):3-11 and 22(2):12-18.
Kapoun, Robert W. with Charles J. Lohrmann
1992 Language of the Robe: American Indian Trade Blankets. Salt Lake City: Gibbs-Smith Publishers.
Scherer, Joanna Cohan
2006 A Danish Photographer of Idaho Indians: Benedicte Wrensted. Norman: University of Oklahoma Press.Joanna
Cohan Scherer is an Emerita Anthropologist in the Department of
Anthropology at the Smithsonian Institution. Her research focuses on
areas of visual anthropology, historical photography, women and
photography, North American Indian photography, and cultural
anthropology. Her most recent book is A Danish Photographer of Idaho Indians: Benedicte Wrensted (University of Oklahoma Press, 2006).