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"I Have Struck It Rich At Last": Charles Goodman, Traveling Photographer
"I Have Struck It Rich At Last": Charles Goodman, Traveling Photographer
BY DREW ROSS
FIVE MEN STAND ON THE SHORE of the San Juan River with the muddy river slipping behind them through the barren, rocky strata. Three of the men are gold miners, standing in the background on the sandy beach, posed with the tools of their trade: one with a pickax on his shoulder, one gazing at the gold pan pinned against his hip and stirring the sand for colors, and a third leaning on the long handle of a shovel. The other two men stand in the center of the photograph, closer to the camera, within a low fence. The fence is only two planks high, reinforced with rocks and dirt, yet high enough to obscure our view. One man has his hand on the crank of a crude windlass; its rope descends into a petroleum well. The fifth and final man stands in the foreground pouring oil from a bucket. The caption on the back of this Charles Goodman photo reads, "First discovery of Oil in quantity on San Juan river, Utah, 1895."
The view epitomizes Charles Goodman's photographic style in many ways The positioning of the miners suggests the riches that were on everyone's mind. Their poses of labor hold a sense of action, and the oil itself is blurred as it flows out of the bucket. Goodman brought life to the view, and his composition tells of an experienced photographer. He put the new resource, oil, up front and center, backed by the gold; and then the source of it all, the river, flows across the whole image from upper right to the lower left. Above all, it is stamped with one of Goodman's trademarks: being the first photographer on the scene of a discovery. To date, we have scant biographical information about Goodman; none of his papers or records have been found. His photographs, with few known negatives and newspaper accounts, are all that remain to tell his story. But thanks to Goodman's articulate nature, the collection of photographs, scattered across the United States, tells us more than does the average late-nineteenth-century photograph collection. From these we know Goodman was not just a photographer. He was a traveling photographer, an occupation that required skill as a chemist, artist, and salesman as well as a love for travel. The Bluff, Utah, cemetery record lists him: "Transient Lived twenty years in Bluff."1 Between the years of 1880, the first record of him in Pueblo, Colorado, to his death in Bluff in 1912, he painted his negatives with the names of towns and locations across southern Colorado and Utah. He moved from town to town, working out of a canvas tent, selling his images to the locals. Unlike some of his contemporaries, like well-known frontier photographers William H. Jackson and Charles R. Savage, Goodman apparently did not return to a studio after his excursions.
An image of Goodman's photograph gallery as it stood in Bonanza, Colorado, gives us a sense of his modus operandi A canvas wall tent, about ten feet high, twenty feet long, and eight feet wide caps a low semi-permanent foundation of three rough-hewn logs. The plot of land is leveled, with a road in front and a hillside of tree stumps behind the gallery. A section of the roof droops in above the printing room where the canvas section could be removed for developing prints with sunlight. These tent studios were quite common among traveling photographers.2 Many photographers answered the demand for images in these remote places, traveling from mining camp to mining camp throughout the San Juan Mountains.
On the front of Goodman's gallery hang two signs. One on top spans the tent frame in an arc and announces "PHOTOGRAPH GALLERY." Below, next to the front door, a second sign reads, "Views of Bonanza, Exchequer, Sedgwick 8c Round Mountain For Sale Here." A gray-haired man lounges in the narrow front door with two children next to him. Charles Goodman himself stands with his thumbs hooked behind his jacket's lapels, leaning back on his right foot, his left foot relaxed. He wears a dark beard, a top hat, and a businessman's congenial smile.
Better than the average traveling photographer, Goodman was an historian as well. He often labeled his photos by writing information on the negative, a common practice begun in the wet collodion plate era of photography As with W H. Jackson's precise block lettering and C R Savage's flamboyant penmanship, Goodman too had a unique, readily identifiable handwriting—a practiced romanesque serif with cross lines at the end. Sometimes he wrote in a rude block lettering (perhaps an assistant's writing), but even those with different lettering are identifiable because, beyond most of his contemporaries, he regularly included the day, month, year, and place of the photograph From the dates and locations, which appear on his identified photographs, we can trace his wanderings through, over, and around the San Juans, Bluff, and Utah's canyon country. If it were not for his habit of dating his images, Goodman would be best described by the word "circa."
From this scattered logbook of dates and places, it is clear that Goodman used the mobility of a traveling photographer to be where the new excitement was unearthing some mineral resource, such as the discovery of San Juan oil and gold in Creede, Colorado, in 1892; or at significant events, such as the "First Artesian Well in Montrose" in 1884 and the opening of the hydraulic mining pumps near Mancos in 1893; at community events like a Decoration Day parade in Montrose and gatherings in the Anasazi ruins near Bluff; and at those one-of-a kind events such as the last run of the Ouray-to-Montrose stagecoach in August 1887 and the killing of Bob Ford (the man who shot Jesse James) in 1892.
Of these events, we have additional knowledge of one in particular, the felling of the Old Swing Tree in Bluff. On September 12,1907, the Montezuma Journal reported, "The San Juan river has been on the rampage all summer" because the "large amount of snow in the mountains and the summer rains" had kept up "its angry flood." The flood had "eaten away the beautiful farming land until now it is within five hundred feet of Frank Hyde's corral." Of special note was the giant two-stemmed cottonwood tree that had, "until a few days ago," stood on the outskirts of town. The flood had taken this special tree, which had held a favorite swing and was where "the first meeting was held, and the first Sunday school organized when the place was settled 28 years ago."The editor noted:
On the same page of that day's paper, one column-inch above and to the right of the tree photograph, was a small rectangular ad, "KODAKS! Kodaks and Supplies at the Catalog price." Together, the narrative of the Swing Tree and the Kodak ad define Goodman's position as the town photographer. Other photographs exist of the Swing Tree, probably taken with Kodaks, but the special event was entrusted to a professional. Goodman lived through and experienced the transitional era of the West and photography. At the beginning of his career he would have used the wet collodion method. When he finished, the industry had been revolutionized, evolving quickly through the dry plate method and into the early stages of flexible film. What brought Goodman west to Colorado in 1880 may have been the same thing that took him to the San Juans and Bluff. The earliest San Juan miners avidly promoted their isolated region to attract out-side interests and financing, without which they would be held captive by the rugged mountains and extreme climate By 1870 the San Juaners were making known "the rare opportunities of our country" to investors as far away as New York. Goodman himself would come to the San Juans and play a part in promoting them.
Born in New York in 1843, Goodman made his way west and could be found in Prairie du Chien, Wisconsin, in 1872, near where the Wisconsin River enters the Mississippi at the Wisconsin-Iowa border. He was listed in the Wisconsin State Gazetteer & Business Directory through 1873 with a business at the corner of Bluff 8c Main streets, where he competed with an H. R. Farr, who had operated a studio since 1870. In 1876 they merged as Farr 8c Goodman and listed their business until 1877.
Promises of riches in the San Juans drew Goodman to Colorado in 1880. As the railroad construction crews worked deeper into the mountains, wholesale business was "just a hummin'." There was a shortage of horses, and an incredible number of railroad ties were constantly passing through the city. "Railroad laborers are scarcer than hen teeth," noted the editors of the Colorado Chieftain. Newspaper ads for "300 men wanted to work on the San Juan extension of the D&RG," which would provide access to the SanJuans, promised "good wages."4
Charles H. Goodman first appeared in Colorado in the 1880 Colorado State Business Directory, listed in South Pueblo as Goodman 8c Brothers His brother, J H., does not appear in the Wisconsin records, and when Charles moved west from Pueblo,J. H. slipped from the historical record. Some of the first images Goodman took in western Colorado were in Pitkin in 1883, and one stereograph is stamped as "Goodman Bros, Pitkin, Colo."5 After that date, Goodman appears to have operated on his own, without his brother During his years in Colorado, Goodman favored Montrose the most: images from there dated 1884 and 1887-88 have been found. This presents some large holes, but photographs taken between those years still point to Montrose. The other images are of towns in the vicinity of Montrose, in the north and central areas of the San Juans, all very accessible from the Uncompahgre River drainage: Ouray, Telluride, Red Mountain, and Silverton.
In the spring and summer of 1892, one of the largest San Juan rushes brought thousands of people into Creede, Colorado. The boomer editor of the Creede Candle repeated the mantra, "You can't miss it if you come to Creede and keep your eyes open." Goodman went there, opened his shutter, and captured the development of Creede and the neighboring areas of Jimtown, Amethyst, and Bachelor Building ground carried a premium price, prompting one photographer to build a studio "on a huge rock that fell from the bluff on Cliff street. It is way up," noted the Candle editors. Whether the studio belonged to Goodman is difficult to say as several photographers flocked to the area that year Goodman's only address in the area is a post office box in Amethyst.
"Creede is building for all time," wrote the editor. "The Creede boom will rejuvenate all industries in Colorado and lead to a general healthy awakening all over the west." The boomer editor must have been receiving kickbacks as he boasted there "seems no limit." But for Goodman there was; he left town that fall bound for someplace where the word "boom" was yet to be mentioned.
For years Goodman pasted a label on the back of his images that stated, "This scene located on the line of the Denver 8c Rio Grande Railroad. Photograph furnished through the courtesy of the Passenger Department." Another regular label on his images stated, "Views in the Old Reservation of the Ute Indians and Scenes along the Denver and Rio Grande Railroad, Chas. Goodman." Yet his relations with the railroad are unknown He might have received a stipend or use of the railroad, but it is doubtful that he ever had exclusive use of a wellpadded photograph car, as did his well-known contemporary W. H. Jackson. The arrangement with the railroad followed him to Bluff, beyond the end of the railroad tracks. For many years, Goodman continued to use those same labels.
In the summer of 1893, after leaving Creede, Goodman set up his operation in Mancos, Colorado, on the southwest fringe of the San Juan Mountains. In the Mancos Times he ran an advertisement: "Photo Portraits Or views of Residences and Ranch scenes, made to order CHAS. GOODMAN, Photographer" and located his gallery on Grand Avenue, "nearly opposite the school house." In the standard fashion of announcing a new business and advertiser to the readers, the editor of the Mancos Times, W. H. Kelley, promoted Goodman as "an experienced portrait and view photographer, and will open a studio in Mancos for a few weeks." Goodman immediately shot a series of views of Mancos from the tops of the adjacent hills, "showing the town and every ranch and house for miles up and down the valley."6
By August of that summer the newspaper referred to Goodman as "our photographer," suggesting he was the only, or at least, the favorite lensman in town at the time. The paper announced his latest work, a series of "magnificent views, showing every ranch in Mancos Valley from the village down to the head of Mancos Canon." The kind editor urged that "every ranch owner and resident in the valley should obtain these series of views, as they will go farther to convey the grandeur and magnificence of our wonderful valley upon the minds of their Eastern friends than the poetical word-painting of a Bob Ingersoll."7
The newspaper, which was hardly ever illustrated by art or lithograph, was especially attentive to the residence of one man, Capt. Jackson, a prominent veteran of the California and Colorado gold rushes Jackson was working in West Mancos on a large hydraulic mining project, the opening of which was to be "a memorable event in the history of Montezuma country." When Jackson "turns his Little Giant loose upon the rich gravel beds of West Mancos," boasted the paper, ".. . there will be rejoicing in this shop. We have secured the services of Mr. Chas. Goodwin [sic], who will take a photographic view of the scene, which we will reproduce in THE TIMES as soon as we can have the cut made." 8 Unfortunately, either the Little Giant was never unleashed or some other miscalculation occurred, because neither an engraving of Goodman's image of the event nor any other mention of the hydraulic mining appeared in the next six months.
Nonetheless, at that time Mancos was booming. According to the paper, "There are more prospectors in the La Plata mountains in the present time than ever before in its history," and a significant gold strike caused a rush to Bear Creek. "In almost every gulch men are at work. . . . Every day experts and capitalists are to be seen in the district . . .which signifies a large amount of development work this winter."9
Once again, as the miners stampeded to the next gulch, Goodman headed the other direction. He quietly placed an ad on September 29, 1893, stating simply, "Only twenty days longer[!] Goodman's photo gallery on Grand avenue." He offered his photographs at "reduced rates," noting that the views of Mancos and the valley, "including mining scenes in the La Plata mountains that were left on my hands," had not been called for. Prior to his departure, he offered a unique image "of the Mancos primary school: 60 scholars and the teacher." The price of 50 cents for a "fine photograph .. . of some of the future great and good men and women of the Mancos valley" was the going rate for the larger views.10
Goodman headed west, away from the high country snows, to the desert His travels had taken him there before, as evidenced by a photograph taken at Holley's Trading Post on the San Juan River, Utah, on Thanksgiving Day, 1890. But with such good business in a boomtown like Mancos, what prompted Goodman to leave at this time? The newspaper suggests several forces that would impact Goodman's business. Other photographers arrived. Charles B. Lang, in conjunction with a Wetherill, opened a gallery in Mancos, advertising for the first time in the September 1, 1893, issue "The young gentlemen are doing first-class work and their Cliff Dwelling scenes are immense," noted the editor. Lang also offered painting classes: "If a proper number of scholars can be obtained, I will give painting lessons in this village during the winter. The greater the number the less will be the cost." After December 8, Lang and Wetherill no longer advertised. Lang is later mentioned as a musician and photographer in Bluff. The other forces that might have influenced Goodman were the enticements of untried and untested fields—places where he might be first to strike it rich. As the first big snowstorms of 1893 began to pile drifts in the San Juan mountains, editor Kelley signaled the next place with the boast of "a bona fide gold boom on the Lower San Juan before the blue birds nest again."11
Several residents of Mancos, particularly businessmen, began to travel to the lower San Juan to "experiment" in the new gold fields. Goodman was among them. Of course, Kelley shared unfettered enthusiasm, saying on December 22, "There will be a big rush into that section before long. We shall give authentic information as to their value and extent just as soon as possible, and shall keep the reading public thoroughly posted of passing events." The Mancos Times did cover the new developments on the San Juan with regularity.
The real evidence of paying gold was in the hands of men returning to Mancos On January 26, 1894, it was posted that Mr Walter Mendenhall had brought in six ounces of gold from his placer mine on the San Juan below Bluff. That same issue of the Mancos Times is the first issue in which Goodman's advertisements no longer appear in the paper. Like many other businessmen—Dave Lemmon, Major Hanna, George Bauer, and William Hyde (the latter from Salt Lake had settled in Bluff and moved to Mancos)—Goodman probably traveled between Mancos and Bluff throughout the fall and winter months of 1893, prospecting along the San Juan The Mancos newspaper announced several excursions leaving from and returning to the Bluff area, promising of course that there would be a boom in that section
"Bluff City and vicinity is now the subject of much interest in mining circles. There is no attempt upon the part of any person to create a boom, but gold is being found in goodly paying quantities in many places along the San Juan," wrote Kelley. He was a boomer at heart and could not resist such optimism. Shortly after, he estimated, "The placer fields along the Lower San Juan are attracting the attention of those who pin their faith to that kind of mining There is room in that section sufficient to give employment to 10,000 miners."12
On March 2, 1894, Kelley reported news of Goodman via George Bauer, a banker and owner of a Mancos mercantile store "Our friend, Charles Goodman, who ran a photograph gallery in this place last summer, has caught on in good shape on the San Juan." Goodman, in a letter to Bauer, noted that he was located "about 40 miles west of Bluff City," and "in company with some others, I have struck it rich at last in a placer claim down in the canon [sic] of the San Juan. We get from 500 to 1,000 colors to the pan. We have some lumber and machinery already on the road from Mancos, and will soon be engaged in taking out gold."
It is the phrase, "I have struck it rich at last," that reveals the impetus behind Goodman's travels to the forefront of the San Juan mining scene. While it comes as no surprise, the phrase explains why he left his favorable photography operations in South Pueblo, Montrose, Creede, and Mancos, and kept moving on Goodman was moved primarily by the restless search for gold. He wasjust like the men he photographed—on the road for riches, panning, sifting, picking, digging, prospecting, speculating, and gambling Along the way, he took gold in exchange for portraits and views. While looking for his big strike, instead of working in the mines for $6 a day, he used photography as his means of survival on the frontier. In our modern vernacular, he had carved himself a niche as a photographer of the boomtowns and at the scene of discovery.
Goodman and his boomer editor friend, Kelley, were willing to ignore the past. Just one short year before, the San Juan River below Bluff had brought an estimated 3,000 men in the area's first boom That first gold boom of 1892-93 caught the town of Bluff by surprise. Miners filled the town, passing through to the west, to the great new gold hope. F A Hammond estimated 30-50 people a day passed through Bluff on their way to the gold fields. With the nation in the midst of an economic depression, which closed most of the western Colorado mines, the rush cast Bluff into a boomtown and center for supplies. The Salt Lake papers encouraged men to go south and printed information on how to reach Utah's El Dorado Then, within two months, those papers were reporting the rush as a scam. Why, two years later, were Goodman and friends breaking their backs in the same place? Even the Denver Mining Record was convinced that the first rush had missed the point: "Gold has been found in liberal quantities on the San Juan river below Bluff City, Utah The 'unwarranted' excitement in that section about a year ago seems to be bearing its fruits now."13
The San Juan gold rushes were replicas of those in Glen Canyon
The first Glen Canyon rush was set off by Cass Hite in 1883. A seeker of the "lost" Mitchell and Merrick mine, Hite settled at Dandy Crossing and witnessed a boom of seven years. After the San Juan gold rushes of 1892-94, many of those miners entered Glen Canyon. But the Colorado River gold presented the same problem as the San Juan River gold: it was a fine granular flour that washed out of the pan with the sand. The handful of men from Mancos, like the men of Glen Canyon, were persistent in a search for a system that could separate the fine gold from the sandy silt. They devised elaborate contraptions to dredge the stream bottoms and separate the gold. Among the 100 designs patented, one was of a gold dredge built by Robert B. Stanton and the Hoskaninni Company.14 It, too, was a pocket-emptying failure. The San Juan and Colorado rivers extracted more wealth from the men than they gave. After each rush, most miners moved on, burdened with new debts. Goodman stayed behind. We know that he made it over to the Glen Canyon area, photographing the tributaries of Dark Canyon and Lake Canyon. Being a miner, he probably washed some sand there as well.
Goodman's first photos of the San Juan miners were taken the month before Kelley reported Goodman's find, dated January 1894. Two images of his company of miners working the sands near Mexican Hat are very popular and often used in portraying the San Juan gold rush. The first image is of four miners around a sluice machine, each comfortably posed in the various positions of the sluicing process Like the "First Oil" image, this is a masterpiece for its clear documentation of the field operation. The other picture is located just below the famous landmark, Mexican Hat Rock The miners developed an elaborate aqueduct to provide their shoreline sluice with water. Since most of the gold lay in the sands above the water line, they needed to bring the water to it. A broad water wheel sits in the middle of the river and turns a conveyor belt of buckets. The water is dumped at the top of an eight-foot escalator into the aqueduct, which runs to shore over sixty feet away on stilts of driftwood braces. The aqueduct makes a U-turn and returns to the river shore. Four men stand posed about the contraption, three with shovels, about knee to waist-deep in the holes they have dug. One man sits at the terminus of the aqueduct, rocking the diggings with the transported water.
Goodman's documentary-style photography was perfect for promotional use. Miners discovering rich ore deposits had money or gold to pay for photos, and they also needed views to promote their claims and catch the interest of investors. In at least one instance, Goodman's views were published in a prospectus. When the oil boom began in the lower San Juan, he captured Goodridge's No 1 oil well and penned "Struck High Grade Oil Here March 4, 1908" (featured on p. 3 of this issue) Several of Goodman's images were used to promote the new oil fields and were printed in the San Juan &: London Oil Company's prospectus.15
Goodman also used his photojournalistic sensitivity to portray the condition of the Navajo people When he arrived in San Juan County, it was an isolated area with well-established problems. The "Ute Problem" was a regional headliner, the Navajos were starving, and there were divisions among Mormons and non-Mormons. Goodman's community of miners only exacerbated some of the problems, but he may have helped to solve some of the others. The Utes were being ousted from their traditional lands of western Colorado where miners and settlers were increasing in numbers. When Kelley printed the news from Goodman's strike, he noted of the lower San Juan, "And yet this is the section that many of our friends are anxious to locate the Southern Utes upon. The Utes will be removed s' mother year." 16 Again the boomer was too fast with his pen The Northern Utes were removed to the Uintah Reservation in northeastern Utah, and a similar plan was in the making to evict the Southern Utes from their land in the Four Corners area. San Juan County, Utah, remained the best answer, if not the most readily available area. The Southern Utes were given most of San Juan County Ranchers and settlers, the community which Goodman was now a part of, fought the decision and by November of 1894 the Southern Utes were moving back to Colorado. 17
Goodman's photographs were possibly taken at claims that may have been the targets of some Navajo aggression. With their reservation south of the San Juan River and a growing number of land claims on the north side, the Navajos were using the river and its flood plain for farming. When the miners staked claims along the length of the river between McElmo Creek and the Arizona-Utah border, the Navajos fought back by destroying claim markers, scattering horses and burros, and intimidating the miners. As tensions escalated, the military was called in to maintain peace. 18
Yet we know that Goodman had an amiable association with the Navajos. In 1902 the Indian agent received reports that the Navajos were starving and went to Bluff to investigate Between 1892 and 1895, the San Juan region had been hit by hard frosts, severe droughts, and cold spring weather. The Navajos had grown desperate after three years of crop failures At the same time, their profitable wool and blanket trade had withered during the national depression. Local trading posts had closed down. Conflicts between the Navajos and whites increased.19 By the time the Navajo agent arrived, the Navajos had recovered from their misfortunes of the mid-1890s. "I met and talked with Charles Goodman who resides in Bluff City [and] has resided there for the last eight years," wrote the agent, George Hayzlett. He said Goodman was "the only resident in the town who is not a [M]orman," and "he never heard anything of. . . starving Indians." The agent felt Goodman was a valid source for information because "he is a photographer and goes among the Indians quite frequent."20
Goodman spent his time among the Navajos at the Navajo Faith Mission, which was founded in 1895 by Howard Ray Antes, an independent Methodist missionary and self-styled Indian advocate. Antes established the Faith Mission near Aneth at the height of the mid18908 drought. He was dedicated to their cause and was able to drum up donations from people in the East, which he distributed to the natives. Part of the money was used to subsidize the blanket-weaving industry. Antes also supplied people with great amounts of clothing and flour to sustain them through long winter months. 21 Goodman took many images of the Navajo: activities at the Faith Mission, women weaving, the missionary (presumably Antes) shaking the hand of a Navajo, medicine men, general gatherings, and sheep herds. Since Goodman used his photographs for documentary and promotional purposes, it is conceivable that some of these images were sent back to Antes's charitable donors.
While Goodman seemed to do well enough for himself, the big strike that everyone was waiting for—the big strike that would have made Goodman his millions—never came. Perhaps history is better for his missed riches. Without that great strike, he kept taking photographs and therefore left something much more valuable than gold or oil Goodman's images are of such caliber that had he come west fifteen years earlier and perchance run into the likes of a Hayden, King, Wheeler, or Powell, conductors of the Great Surveys, he could have done just as well as W. H. Jackson, Jack Hillers, and Timothy O'Sullivan. In his own survey of the mining camps, he captured the saga of the San Juan mountains and river
Charles Goodman died on February 13, 1912, apparently of natural causes, at sixty-eight years of age. 22 With only the photos and scant other materials to decipher his life, he remains a "transient" in the pages of history He wandered the rugged San Juans and Colorado Plateau, only to settle down in Bluff. What was it that kept him there? Perhaps he lingered, believing that gold and oil were there in paying quantities. Or maybe the next boom, such as the Klondike in 1896, was too far away for an old man. Though we do not know if the San Juan gold made him any money, we do know that Goodman made a life for himself in Bluff and San Juan County. In the mid-1890s, the Denver Mining Record commented on the erratic Bluff gold rush, noting that though it had faded there was still good news coming from that district: "In the history of all mining excitement it is shown that those who stay after the rush and rabble pass away usually discover something permanent." The paper then invoked the proverb "A rolling stone gathers no moss," implying that those who are always rushing to the next boom will gather no gold.23 For Charles Goodman, maybe that San Juan gold and the life it led him to were enough.
NOTES
1 Cemetery Records of Bluff, San Juan County, Utah, May 1880 to March 1951. Compiled by Lucretia Lyman Ranney, Blanding, Utah.
2 Terry William Mangan, Colorado on Glass: Colorado's First Half Century as Seen by the Cameras (Denver: Sundance Publications, Ltd, 1975), p. 92.
3 Montezuma Journal, September 12, 1907.
4 Colorado Chieftain, April 15, 1880.
5 Stereograph Photograph Collection, P0066, 1:5:12, Special Collections, Marriott Library, University of Utah.
6 Mancos Times, July 21, 1893.
7 Ibid., August 11, 1893.
8 Ibid.
9 Ibid., August 4, 1893.
10 Ibid., August 6, 1893.
11 Ibid., December 15, 1893.
12 Ibid., February 9, 1894.
13 Ibid., February 2, 1894.
14 Robert S McPherson, A History of San Juan County: In the Palm of Time (Salt Lake City an d Blanding: Utah State Historical Society and San Juan County Commission, 1995), pp 242, 246
15 Earl Douglass Papers, MSS 196, Special Collections, Marriott Library, University of Utah.
16 Mancos Times, March 2, 1894.
17 McPherson, A History of San Juan County, pp. 151-52.
18 Ibid., pp 125-26,136
19 Ibid., p. 126.
20 U.S Department of Interior, Indian Service, Navaho Agency, Fort Defiance, Arizona, correspondence (57523), September 18, 1892 Copy in author's possession.
21 McPherson, A History of San Juan County, p 127.
22 Cemetery Records of Bluff.
23 Mancos Times, February 2, 1894.
