Hermann Stieffel, Soldier Artist of the West — Edition Insights

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Howell, Edgar M. Project Gutenberg 2011 Not confirmed
Stieffel, Hermann, 1826-1886; West (U.S.) -- Pictorial works Readers of public-domain and historical texts
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Edition facts

Words 9,192
Reading time 40 min
Text sections 2

Hermann Stieffel, Soldier Artist of the West — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 9,192 words, 40 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Stieffel, Hermann, 1826-1886,” connecting these edition facts with the source record’s subject description.

Edgar M. Howell's study examines the watercolors of Hermann Stieffel, an untutored German-born private in the U.S. Infantry, whose meticulous attention to detail provides valuable pictorial records of the post-Civil War West, including forts, trains, and frontier towns.
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Brotherton was graduated from the U.S. Military Academy with the class of 1854 along with several officers who later distinguished themselves in the Confederate States Army, including George Washington Custis Lee, son of Robert E. Lee, John Pegram, J. E. B. Stuart, Stephen D. Lee, and William Dorsey Pender.[5] Assigned to the 5th Infantry, Brotherton by 1861 had risen to the rank of captain and had acquired considerable experience against the Comanches and Apaches in the Southwest, the Seminoles in Florida, and the Mormons in Utah. Electing to remain with his regiment at the outbreak of the Civil War rather than resign and enter a volunteer or militia unit where he easily might have risen to general rank as did so many of his contemporaries, he remained a captain in the Army until 1879 when a vacancy occurred and he was promoted to major. He was promoted to lieutenant colonel in 1883 after 29 years of service, but only at the expense of transferring from his old regiment to the 7th Infantry, where there was a vacancy at that rank. He retired for disability in 1885 after 30 years of almost constant service in the field.

We know little of Stieffel the man. He was born in Wiesbaden, Germany, in 1826, and became a printer by trade, indicating a fair amount of education. He emigrated to this country at an unknown date and in December 1857 at New York City enlisted in the Army as a private of infantry. He was 31 years old at the time, and was described as being five feet five and one-half inches tall with blue eyes, sandy hair, and a fair complexion.[6] He remained a private for the entire time of his military service. After recruit training at a general depot, he was assigned to Company K, 5th Infantry, joining that unit late in August 1858 at Camp Floyd (later Fort Crittenden), Utah Territory, where the regiment was an element of Col. Albert Sidney Johnston's "Army of Utah" sent westward to police the recalcitrant Mormons.[7]

Stieffel's record shows nothing of note until December 1859 when he was court-martialed and fined.[8] This court-martial seemed to set the pace for him. Although the precise charge on which he was tried is not stated, in view of his later record it can be surmised that it was for drunkenness--a very common offense in the frontier army--for in October 1861 Stieffel owed a sutler $27.95, a heavy debt for a day when a private's net pay was less than $11.00 a month.[9] The debt remained unpaid through 1862 and even increasing an additional $15.00. During this period Stieffel also was in confinement on a number of occasions for crimes or misdemeanors unspecified.[10]

In 1860 the 5th Infantry was transferred from Utah southward to the Department of New Mexico. It was here in 1862 that Stieffel saw his first combat in Col. E. R. S. Canby's[11] Union force, which frustrated the wild Confederate attempt under Brig. Gen. H. H. Sibley to invade the present states of New Mexico and Arizona and conquer California.[12] Captain Brotherton, Private Stieffel, and the remainder of Company K fought in the sharp action at Valverde, New Mexico, on February 21, 1862, and evidently with some distinction as Brotherton was breveted major for gallantry as a result of his unit's performance.[13] Unfortunately for posterity, Stieffel did not record his impressions of this little-known sideshow of the Civil War.

The Battle of Valverde was Stieffel's only experience in formal combat so far as the record shows. After the final withdrawal of Sibley's force into Texas whence it had come, the 5th Infantry turned its hand to policing the Indians and was almost constantly in the field during the period 1863-1866.[14] Stieffel, however, was seldom with his unit during this time. When not on one of his frequent stays in the stockade, he was on extra duty at the closest army hospital.[15] He continued on such duty for most of the remainder of his service,[16] except for confinements, a period of desertion, and necessary changes of station.

Edgar M. Howell, curator of military history at the Smithsonian, introduces Hermann Stieffel as a German-born private who served 24 years in the U.S. Infantry and produced a series of watercolors during the Indian wars of the 1860s and 1870s. Howell emphasizes that Stieffel was untutored and not especially talented, yet his "unusually canny eye for the colorful and graphic" and "meticulous attention to detail" yield valuable documentary records. The essay contrasts Stieffel with celebrated artists like Catlin and Remington, arguing that soldier-artists offer a unique viewpoint lacking in professional painters. Howell's own voice is measured and scholarly, often qualifying observations with phrases like "it is entirely possible" or "probably."

A Soldier's Eye for Detail

Howell repeatedly praises Stieffel's accuracy, grounding his claims in comparisons with extant photographs. Of the Fort Keogh painting, he notes that "the over-all layout of the fort conforms" and that "minute details such as the gable windows and chimneys of the officers' quarters ... are absolutely correct." He identifies specific structures in the Miles City view—the Diamond D corral, Major Bochardt's store, the Cottage Saloon—by name, demonstrating that Stieffel's work can be cross-checked against historical records. This precision extends to the depiction of a Union Pacific locomotive, which Stieffel carefully labels "U.P.R.W.E.D." (Union Pacific Railway, Eastern Division). Howell's own prose mirrors this exactness: he notes the stone wall around hay piles "as protection against grass fire in the dry months" and the wooden bridge that replaced a ferry by 1880. The essay thus becomes a collaborative act of verification, with the curator confirming the private's reliability.

Pace and the Problem of Evidence

The essay's narrative pace shifts noticeably when Howell confronts gaps in his knowledge. In describing the mounted drill in the foreground of the Fort Keogh painting, he offers three competing explanations: it may be "mere window dressing by the artist," or it could depict Stieffel's own regiment learning mounted tactics after 1877, or it might show cavalry whose commander "had wandered too far from regulation movements." This speculative passage slows the rhythm, as Howell weighs possibilities without settling on one. Similarly, when discussing Stieffel's Indian subjects, he notes that the artist "apparently did not know his subjects well enough to distinguish them by tribe" yet still depicts them "in typical dress of the period." These moments of uncertainty contrast with the confident cataloging of buildings and details, revealing the limits of what even a meticulous soldier-artist could capture—and what a curator can infer from incomplete evidence.

The Voice of the Curator

Howell's own narrative voice is that of a patient investigator, often using tentative language: "probably," "it is entirely possible," "perhaps." He frames Stieffel's work as a corrective to the more famous artists: "none of these were military men so their work lacked the viewpoint that only a soldier could provide." Yet he never overstates Stieffel's skill, calling him "untutored" and "crude." The essay's structure mirrors its subject—both are documentary, focused on verifiable detail. Howell's tone remains consistent throughout, even when describing the donation of the collection by Lt. Col. Brotherton's heirs in 1946. This steady, unadorned voice lends authority to the analysis, allowing the paintings to speak through the curator's careful descriptions. The result is a study that values accuracy over artistry, much like Stieffel's own watercolors.

Howell's essay rewards readers who appreciate close observation and historical detective work. Rather than offering aesthetic judgments, it demonstrates how a non-professional artist's work can be read as a primary source. Pay attention to the moments when Howell speculates—these are where the limits of the record become visible, and where the essay's own method becomes most interesting.

There’s something moving about how Stieffel simply recorded what he saw—forts, trains, towns—without fuss, trusting his eye. It reminds me of why How to plan a library building for library work — Themes and Context lingers with me, too. Both are quiet acts of attention, preserving a place before it changes, which it always does.

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