“Finding Miss Monroe, a Cow Camp, and an Art Colony Lost in the Middle of Nowhere”
An Introduction to Finding Miss Monroe and a Lost Art Colony of Gunnison, Colorado:
An Art History of Manifest Destiny
by
Nicholas A Fischer
Images then draft paper
Embedded Files
**Draft for Final Review**
“Finding Miss Monroe, a Cow Camp, and an Art Colony Lost in the Middle of Nowhere”
An introduction to
Finding Miss Monroe and a Lost Art Colony of Gunnison, Colorado:
An Art History of Manifest Destiny
Nicholas A Fischer
October 6, 2024
Prologue
On the morning of October 13th, 1886, a blustery storm swirled around the Gunnison Country. Cold winds and ominous clouds began crashing over the mountain peaks and down the valleys to converge on the hope-filled town of a reuniting Gunnison City as they opened the first day of the Gunnison County Fair. The incoming equinoxal storm, which had come to be known as “The October Storm”, threatened to keep the exhibition of Gunnison County products from arriving.[1] Three days earlier, as the storm whipped itself into the state, its high winds took down a stretch of the new “State Bridge” built over the Colorado River at Grand Junction. The damage was so severe that the opening of the bridge and the celebratory fair to be held in conjunction with it at the end of the month had to be postponed indefinitely.[2] After a series of booms and busts following the removal of the ꞌAkaꞌ-páa-gharʉrʉ Núuchi (The Uncompahgre Ute) from the valley for incoming settlers, the dreams of a reuniting Gunnison City to put on an excellent showcase of their agricultural, mining, and cultural goods for all to see they could succeed in the high mountain valleys and dry mesas the storm threatened to end their efforts and last minute preparations. The three days of races, baseball games, a children’s day, and exhibitions of livestock, butter, flowers, potatoes, breads, sewing machines, musical instruments, local art, and more were on the verge of being blown away by that notorious October storm.[3]
In June, the Gunnison Fair and Exposition Association incorporated, and a mere two weeks before their first fair started, they finally secured forty acres of land just northeast of Gunnison.[4],[5] Over the next two weeks the Association hastily acquired bids for lumber to fence the property, construct a racetrack, and build the exhibition stalls all while advertising around Colorado of a fair not to be missed. The Fair Association even secured ticket and freight deals from the Union Pacific and Denver & Rio Grande Railways for visitors and exhibitors.[6],[7] Despite their efforts to put on a great exhibition, the ominous storm, and reports of the bridge’s damage in Grand Junction days prior, the committee members of the Fair Association must have wondered what the ominous start to their fair meant.
Even though a storm threatened the fair and held some exhibitors back from entering their stock, the scheduled races for the first day took place and entertained the lively and large crowd that accepted the offer to catch the fair. A reporter from Denver mentioned about the first day, that a quarter mile foot race with a $10 purse was won by a Gunnison boy, and an anticipated horserace with a purse of $50 enticed the visitors into lively betting that night for the races the next day.[8] Despite the threat of the dreadful October Storm, hope was still in the air.
On Thursday, October 14th, the sun rose into a clearing blue sky above the Tomichi Dome, warming the day and burning off the early frost from the fairgrounds. The association planned to install the stalls on the first day and the ominous weather slowed their opportunity. Nevertheless, that clear warming morning fired up the organizers and exhibitors as the stalls and tents began to fill the grounds awaiting the line of people registering their stock and goods. The Gunnison County Fair was on, and all hands were on deck to make it a success. The Fair quickly overcame its slow start and by that second afternoon, it finally resembled a county fair with the children of Gunnison running around the grounds to take in the excitement.[9]
On day three, the morning sun took even less effort to create another immaculate sunny fall day in the Gunnison. And the art tent responded in kind to that beautiful start of the day. The art tent, organized by the “Art, Floral Designs, ect. Committee”, consisting of some of Gunnison’s most influential women, also finally started taking shape on day three. The company of Knight and McClure of Denver brought an exhibit of musical instruments. Frank Dean, a famous Gunnison photographer, displayed some of his new work from the field, most likely including a copy of his infamous photo of Alfred Packard, the notorious Colorado cannibal who was re-convicted in Gunnison just two months prior. However, the art tent was not yet complete, a promised exhibition of oil paintings had yet to arrive.
While it is not clear what paintings and by whom were exhibited, a review of the newspapers before and after the fair provided a glimpse into who it may have been.
Among the women listed on the art and floral designs committee in charge of that art exhibition were Mrs. Shores, Mrs. Davis, and Mrs. Towle, who also frequently served on other committees or in clubs, and attended social events with Mrs. Olney, Mrs. Hartman, and Mrs. Burton, who serve as the patrons of the four artists invited to Gunnison to give lessons in the arts of painting and drawing.
As the third day of the fair ended, the exhausted editor of Mr. Olney’s Gunnison Review Press exclaimed a remarkable success occurred from their efforts to organize and exhibit the agricultural and mining products of the high mountain Gunnison Valleys and the fruitful potential of the Western Slope of Colorado. On the final day of the Gunnison County Fair, a gathering of old-timers and horse races between the ladies ensued. With the success, the Gunnison Fair Association raised enough interest to increase their stockholders and develop the fairgrounds with permanent buildings, a regulation-size half-mile racetrack, and even a flower hall for art exhibitions.[10],[11]
Their 1886 efforts ushered in a series of Gunnison County Fairs before another bust ended the Association and the county’s ranchers transitioned the fair into the current Cattleman Days celebrations, where a Miss Ila McAfee received her first art commission painting unique horses for table placeholders at the banquet. Nevertheless, while not the first exhibition of art in the Gunnison, the second Gunnison County Fair marks an important moment in art history as it was the moment of group of pioneering women in the “middle of nowhere” declared themselves artists worthy of appreciation with the exhibition of their works trained under the tutelage of Miss Monroe.
Were the “Art, Floral Designs, ect. Committee” members and leading ladies of Gunnison: Annie Hartman, Agnes Shores, and Lydia Burton, among the current students of an artist brought in to instruct the women of Gunnison? In the coming years, Mrs. Shores, Mrs. Burton, and Mrs. Hartman would go on to win the premiums the fair offered for oil paintings while also sitting on the organizing committee for the exhibition of art at the annual county fair. The three also have a variety of their artwork on display at the Gunnison Pioneer Museum. The following year, a Salt Lake Evening Democrat reporter covering Miss Monroe’s art class interestingly noted that she would not divulge the identity of her students.[12] However, the collection of the paintings at the Gunnison Pioneer Museum demonstrates an increase in the painting activities of those Gunnison women after Miss Monroe’s fall of 1886 lessons; and in styles similar to what Miss Monroe taught, while having a continued relationship with her over the years. Therefore, it is likely the three artists, Mrs. Shores, Mrs. Hartman, and Mrs. Burton were among the students of Miss Monroe’s 1886 class.
On day three, did Mrs. Hartman, Mrs. Shores, and Mrs. Burton exhibit their recent oil paintings created under the tutelage of Miss Monroe for the whole of the Pacific Slope to see? It appears more than likely because they were on the committee for art and painted works for the fair. Among those paintings exhibited at the 1886 Gunnison County Fair, was there a scene of Hartman’s Cow Camp and the first cabins of Gunnison painted in a skilled Hudson River style? Possibly. The painter of that scene, a once mysterious Miss Monroe, created and gifted the painting in the 1880s to Mr. and Mrs. Alonzo Hartman whose homestead and future sight of their castle is where the scene took place. While Miss Monroe was not a Gunnison resident, she had recently arrived in Gunnison Country in early September as a guest of Mrs. R. I. Towle to share her skills as a painter and hold a course of lessons in landscape oil and porcelain “china” painting for the women of Gunnison.[13]
Interestingly, research showed Miss Monroe was not the first artist invited to teach art in the Gunnison Country. Over the previous few years, the same group who invited Miss Monroe invited three other women to teach them art, Miss Clara Treadway, Miss Myra Davis, and Miss Mary Elizabeth Craig. Under the tutelage of those esteemed Colorado artists whose efforts went far beyond Gunnison and art, the early artists of the Gunnison Country perfected their arts and organizing skills and craved more opportunities to create, perfect, and exhibit their works of art. Each artist practiced, taught, and appreciated ceramic and landscape painting.
A special journey started after an exhibition of painted porcelain through time and space at the Centennial Exposition of 1876 in Philadelphia converged with the women trained in the arts at female seminaries and members of the Equal Rights Clubs.[14] That confluence led to a wave of women craving to learn how to paint ceramics while developing communities for women suffrage and relief across the West all while the nation’s expansion demanded increasing displays of the wealth it created. Seventeen years after the Centennial Exposition, women artists took over the Columbian Exposition, with the final nail in the construction of the Women’s Pavilion starting its journey among the women artists of Gunnison, Colorado.
We search for genius, and we deem
Its home to in far-off places
When suddenly we catch its gleam
Reflected in familiar faces[15]
- Clara Treadway Weir 1902
During my internship and master’s thesis research at the Gunnison Pioneer Museum in Gunnison, Colorado I was asked to examine the paintings in their collection and identify any painted by a locally born artist Ila McAfee (Turner). Over the summer of 2019, I searched the collection for works by the 1980 Taos Artist of the Year, and I began noticing an interesting trend in the painters of the paintings. The majority of the paintings in the collection were signed by a who-is-who of early Gunnison women. Those paintings also spanned the first thirty years of the town’s founding, presenting a foundation for the progression of art in the town.
One particular early painting captivated me, a stunning scene entitled, “Cow Camp Scene circa 1880’s” with the artist noted as “Miss Monroe” and the previous owner as Mrs. Alonzo Hartman. On the back, a fading pencil mark shows the date 188_ and describes it was painted and presented by Miss Monroe to Mr. and Mrs. (Annie) Alonzo Hartman. A faded sentence mentions the little white tents of the scene. Research into the painting’s origins uncovered possible time frames from the 1870s to the 1890s. The scene depicts three cabins and several white tents set among cottonwood trees with a hint of the distant Gunnison Palisades centering the scene within the atmospheric background. (Figure 1-5). The scene of the cow camp represents a moment in time just after the Los Pinos Indian Agency moved from Cochetopa Pass to the Uncompahgre in 1874-5 and the site where the agency’s cow camp hands settled in the heart of the Gunnison Country at the convergence of the Gunnison River and Tomichi Creek, “Dos Rios”. Over the next ten years, the Hartmans transformed the location into the future site of their castle and the base of their cattle empire.
After the passage of the Brunot Treaty of 1873, Los Pinos Agency employees Alonzo Hartman, James Kelley, and Sidney Jocknick conspired about their futures within the region as a wave of mining, agriculture, and settlement speculators began to enter the remote high mountain valleys of western Lake County. As the spring of 1874 arrived, a colony of tenderfoot settlers led by Sylvester Richardson crossed over Cochetopa Pass and followed the historic trail along Cochetopa Creek to Tomichi Creek. Upon reaching the Parlin Ranch the colonists gained their first awe-inspiring view of the Gunnison Valley. The group then followed the trail along the Tomichi and as the rolling sagebrush hills broke way to the floodplain of the creek at its convergence with the soon-to-be-renamed Grand River, the panorama view from the snow capped peaks from the West Elks to the San Juans came into view defining the distant skyline while being contrasted by the deep greens of the thriving pine and aspen strands along their slopes. Meanwhile, the awakening cottonwoods delineated the riparian areas of the valley floor as their fine wisps of cotton filled the fresh mountain air yet to be tainted by the smoke from the mining industry’s ever-encroaching smelters. [16],[17]
Once taking in this remarkable scene which has greeted spring residents of the country from time immemorial, the colonists, on the east side of the Gunnison River and 107th meridian, outside the treaty boundaries, and in the shadows of Tenderfoot Mountain and hills to Signal Peak, Richardson’s colonists plotted a town site. The colony began to build a few cabins over the summer, but dissension soon set in, and unfounded fears of impending raids ran some settlers off, while the hardships of establishing a town from nothing in the remote reaches of the Rocky Mountains with a harsh winter looming ensured the town site faltered to make it to winter. But a tender footprint was laid for future settlers to enter. Richardson did not give up on his dream, and consistently petitioned for settlers in advertisements glowing of the region’s agriculture, mining, and homemaking potential. Hartman and Kelley fortuitously stayed through the winter and decided to open a supply store and post office in the cabins which were once used to serve as a political outpost set up in an attempt to meet the United States treaty agreements with the Núuchi (Ute people). In 1876 Alonzo Hartman was named postmaster of Gunnison County, operating the office out of the cabin. Located on the other side of the two rivers from the initial settlement, the fortuitous cow camp hands turned their cabins into a central hub serving the needs of the increasing number of tenderfoot speculators and settlers making their way on the new toll roads over the mountain passes constructed by the crews of Otto Mears. As the trickle of settlers turned into a stream with seasonal raging rapids of settlement and development, the country of the Núuchi was quickly turning into the Gunnison Country and the people into a fading memory as they continued to be pushed west.[18],[19]
In 1879 a town was organized on the northeast side of the confluence under the interests of several prominent settlers including Alonzo Hartman and Sylvester Richardson, as Gunnison City. Soon after, the town’s early leadership fractured over the direction of the city and a division called West Gunnison formed out of the political, social, racial, and economic conflicts and unity found between post-civil war Democrats and Republicans, migrating settlers and indigenous Núuchi, ranchers and miners, entrepreneurs and laborers, borders and hermits, saloons and churches, and entertainers and artists. The cultural and social evolution of the “two towns” in conflict graced the editorial pages of their competing papers. Because the divided Gunnison rapidly developed under different business, political, and cultural leadership during the series of speculative booms and busts in early 1880, they created unique social and architectural landscapes between them before the confrontations faded from the town’s memory.[20],[21]Nevertheless, the conflicts inspired competition, and investments came in to fund the dreams of building Gunnison into a metropolis. As Gunnison rapidly grew, the cabins that were once the center of the Gunnison Country got repurposed after Alonzo built a new brick post office and store downtown.[22] In late January of 1882 Alonzo headed to Monticello, Kansas to marry Annie Haigler and return the once resident to Gunnison, despite ex-sheriff Yule’s attempt to secure her hand in marriage as well.[23],[24] With a residence in town and a developing homestead at Dos Rios it is likely then that the cabin at the historic cow camp at Dos Rios became a place for the newlywed couple and friends and family to stay to get away from the booming town.
Those nights under the starry high mountain valley sky, with their friends and family sleeping in little white tents around them, the Hartman’s began dreaming of, building an entertainment, and ranching empire. Over the next ten years that dream became a reality as the Hartman’s developed their Dos Rios homestead with hay pastures for cattle grazing, world-class trout lakes for the outdoors tourists, and a castle their family could call home and provide a retreat from city life while also being a center to entertain family and friends.[25]
On May 12th, 1883 Alonzo Hartman filled a notice to make a final proof on homestead claims at “e1/2 ne1/4, sec. 10 and w1/2 nw¼ sec 11, tp.49 N.R. 1 West N.M.M.”[26] With Dos Rios land and with the historic location of the cabins as their backdrop the now Hartman family built a framed house on the in 1886.[27],[28] In the early 1890s the Hartman’s began construction on a new home on the Dos Rios homestead. As the finishing touches were being completed in the fall, Annie and Alonzo headed for the World’s Fair in Chicago.[29] On the way, Alonzo took a herd of cattle to Omaha then met Annie in Chicago where they attended the Columbian Exposition and acquired a rail car full of household goods to make their new castle a home.[30] On January 29th, 1894 the Hartman’s hosted a party to celebrate their twelfth wedding anniversary and the completion of the castle and their new home which had a tower built just for Annie to use as her studio to paint from.[31] According to Gunnison County records, construction of the Hartman’s Colonial Victorian style home as of 1891, making it likely constructed that year, with the finishing touches and ready for hosting friends and family until January of 1894.[32]
Annie would also host the Monday Afternoon Club at the Dos Rios home. Mesdames, Annie Hartman, May Webster, Ida Meyer, and Martha Brown organized Gunnison’s Monday Afternoon Club in 1898 “for the purpose of discussing current topics principally” and took charge of the December 30th, 1898 edition of the Gunnison Tribune.[33] The club discussed current topics and history while engaging in different entertainments such as sleighing in fresh snow, having tea, singing, and painting. The Monday Afternoon Club editors of the paper that day even included an image of a painting of “Chipeta Falls Black Canyon.” The Monday Afternoon Club provided Annie the opportunity to continue the legacy of those early organizations of women in Gunnison who also practiced art.
The cow camp cabin once used as a central outpost for an unattainable peace treaty, then a post office and store for the tenderfoot settlers to connect to the world still stands thanks to a long series of preservation efforts by the Gunnison County Pioneer and Historical Society. The society dismantled and reconstructed the cow camp cabin turned post office turned homestead cabin to a central location on their museum grounds under the shadow of W Mountain in 1971. The “cow camp scene” painting is located at the museum as well and is on display in the Homer Gray House along with paintings by and gifted to Annie Hartman. The Hartman Castle is currently under efforts for its preservation.[34]
Despite the inconsistency in the dates, the 1870s to 1890s, the potential period of the painting, “circa 1880s”, its subject, and skill of execution had me intrigued into who painted it. Who was Miss Monroe? I asked myself this daily. I scorned the museum's records, other museums within the region, local history books, the university library, and digital repositories. After several months of archival, microfilm, and online newspaper searches and artist databases on the side of my thesis project in 2019, I still could not find any leads on who Miss Monroe was, let alone where she came from. I was still unclear on a date she completed the painting.
However, during my research, I observed, through time, the people of Gunnison’s fascination with developing and growing an artistic culture throughout its connected communities. From the region's first habitation through the town’s formative years to the development of an art department at their new college thirty years later, to the establishment of art centers and districts across the Gunnison Country one hundred years later, the people in the town of Gunnison craved fostering a culture of art education and production within their community. This was a history that stretched back to the region's first inhabitants who built structures on top of Tenderfoot / W Mountain over 10,000 years ago which served as sites for processing and manufacturing artisan-style crafts to the community of artists migrating to be under its shadow and produce a variety of crafts at South Main Gunnison. [35] Fortuitously, this research into the early women painters of the Gunnison and Ila McAfee complemented research being conducted by Nicholas Reti of the Oh Be Joyful Gallery in Crested Butte and Dr. Heather Orr, Ethel Rice, and Dr. Jeffery Taylor’s research into the Art History of the Gunnison Valley.
Their projects found the beauty of the country captured in Thomas Kern’s sketches from Report of Explorations for a Route for the Pacific Railroad by Captain John Gunnison in 1855, who were both killed during the 1853 Topographical Survey, paved the way for other artists like Thomas Moran, William Henry Jackson, and Ferdinand Hayden to travel the region and produce sketches, drawings, photographs, and paintings from the region’s awe-inspiring landscape and dynamic peoples. Those paintings and drawings found their way into national galleries and alongside literature about the region in Harper’s and Scribner’s publications. The stories of the dynamic people, geography, and sudden industrialization of the Gunnison Country attracted inventive and daring photographers like Frank Dean and George Mellen who used ingenious methods to photograph changing life in the high mountain valleys. The two noted artists traveled into the most rugged and remote reaches of Gunnison with their specially outfitted wagons to document key moments of the developing region and the lives doing it with accuracy and quickness in photographs they exhibited and sold in the studios they opened in Gunnison. The studies into the art history of the Gunnison then examined the development of art education at Colorado State Normal School (now Western Colorado University) under Henry and Catherine Richter and a most noted pupil, Ila McAfee, as well other art teachers and students who had works preserved around Western Colorado University. Their research concluded with an examination of the modern art scene of Gunnison Country existing in Crested Butte and Gunnison.[36],[37]
To depart momentarily because one might have asked, “Who is Ila Mae McAfee Turner? And why should I care?”
Born in Gunnison Country in 1897 during late October, Ila McAfee grew up on several ranch properties along the Tomichi and Cochetopa Creeks and in Crested Butte with the town of Gunnison, a center of her world. With the help of her mother, Ila began practicing art at a young age, drawing and painting the animals that were prominent in her everyday life across the Gunnison Country: horses, cows, deer, elk, and mountain lions, set within the breath-taking landscapes she traversed by horseback.[38] After her mother’s untimely death in 1906, the young artist found opportunities in Gunnison to improve and commodify her talents. And by the time she reached high school, she had the opportunity to practice sculpture, drawing, and painting under the tutelage of the first art professor at the new Colorado State Normal School in Gunnison, Henry Leopold Richter and wife and partner Catherine Moore Richter.[39] After graduating, Ila further developed her talents under the tutelage of Lorado Taft and James E. McBurney and at several art schools and associations in Los Angeles, Chicago, and New York in the early 1920s. In the mid-1920s Ila returned to Colorado with a fellow artist and Coloradoan as her husband and partner, Elmer Paige Turner of Greeley, Colorado.[40] Of historic intrigue, on March 7th, 1912, Elmer, while a post-graduate art student at the State Normal School of Colorado, was putting the final touches on a month-long stained glass window painting.
The window is 50 by 70 inches, and is made of colored crepe paper, the design being a giant oak in full leaf, with a golden sunset and a purple mountain range for a background. The piece when completed will be covered with protecting glass and placed in the center window of the third floor of the Guggenheim building, on the east side.[41]
Tragically, in 1951 a fire occurred in the Guggenheim Hall. The teacher’s college in Greeley, Colorado, was eventually renamed the University of Northern Colorado, where archival searches have yet to reveal if the stained-glass painting survives.[42]
Once back in Colorado, the couple headed for the mountains and painted scenes around Estes Park and Rocky Mountain National Park. Over the coming years, the couple began exploring the West, but quickly settled in Taos, New Mexico and opened their White Horse Studio in 1928.[43] In the 1930s Ila returned to Gunnison to share her refined artistic styles in exhibitions at the college, gifting paintings to the college in 1938; and in 1940 painted a mural for the Works Progress Administration’s Federal Art Project in the new Gunnison Post Office, which still graces its walls today.[44],[45],[46] The mural pays homage to the historic cattle drives of the Gunnison Country backdropped by its commanding landscape, while Ila’s paintings at the college are emblematic scenes of wildlife in the Gunnison Country. Ila’s complementary poem to the mural “Wealth of the West” asks the observer to question what the wealth of the West is to them.[47] Ila and Elmer, met in Chicago while further refining their artistic talents, and spent their lives between Taos, New Mexico, and Pueblo, Colorado, making them two early Colorado inspired and locally educated in the artistic practices of professional artists.[48],[49]
Ila’s works can be found in private collections, galleries, and museums across the American Southwest in addition to several paintings on exhibition at Western Colorado University in Gunnison and the LINK Innovation Library in Greeley. The post offices in Gunnison, Colorado, Clifton, Texas, and Cordell, Oklahoma still display Ila’s WPA murals while the mural in Edmond Oklahoma was moved to the municipal courthouse when the post office closed. These paintings that went on public display during her life depict the style of art she developed when she was first inspired to capture her Gunnison Country at an early age. When reviewing biographies of Ila McAfee from art galleries, news stories, and art histories, the town of Gunnison typically describes it as a ranch community.[50] This description shorts the often-noted mining and railroad industries of the Gunnison Country and how the cultural foundations of their moments of booms, busts, and frontier justice and life confronted and shaped the people and their communities. Therefore, those histories miss the historical impact of artists, from painters and musicians to writers and actors, in shaping the cultural experiences of the West and the impact they had on others navigating the confrontations and challenges of the rapidly changing and increasingly interdependent world they lived in. Ila herself had her own confrontations about the changing Gunnison Country she loved, especially because of the desire it inspired in her to capture its fleeting beauty as she continued to do with her subjects throughout her career.
Now back to my question of who was the painter Miss Monroe who painted the “Cow Camp Scene circa 1880s” and why does she matter to the larger art story?
For the next four years, I pondered that question and searched for her when the time provided. In May of 2024, while conducting some research into the Dearfield Homestead Colony and Townsite, I was looking over the available Gunnison newspapers in the online Colorado Historic Newspaper Collection and decided to search for Miss Monroe again. This time a hit, just one came up, a “Miss L. Monroe”, in a smudged article discussing her coming formerly from Boston and Salt Lake and giving painting lessons in Gunnison starting in September of 1886.[51] After a few more common sense and creative searches, I uncovered more articles in the Gunnison newspapers and far beyond and had a line to start tracking her story and genealogy. I had discovered Miss Monroe and in the process a story larger than I imagined, a community of women artists and their patrons who aspired to influence the world transforming around them.
Miss Sophronia L (S L) Monroe (Munroe) was born in 1832 in Ashburnham, Massachusetts, and passed away in Cheyenne, Wyoming in 1909.[52] It appears Sophronia had a close relationship with her sister Sophia (Monroe) Wyman, as they are listed as living in the same towns frequently, and Miss Monroe returned to Fitchburg for her sister’s death and burial. Between 1853 and 1854 Miss Monroe studied at the Burlington Female Seminary in Burlington, Vermont under the tutelage of Sarah Elizabeth Converse.[53],[54] It is during this time she is listed as staying in Acworth, New Hampshire, where her sister’s Wyman family is living. Interestingly, Acworth, New Hampshire is in the same county, Sullivan, and eleven miles away from the town Captain John Gunnison was born in and left from before his ill-fated 1853 expedition. By 1870 the Wyman’s moved to Fitchburg, Massachusetts and Miss Monroe began receiving mentions in Leominster and Fitchburg newspapers for her art and organizing. In 1871 the artist returned into the records in an interesting way when Miss S. L. Monroe is listed along with Frances H. Drake[55] as having sent a business letter to the Women’s Journal which is noted that it will receive attention.[56] Four years after sending letters to the Women’s Journal Miss S. L. Monroe and Frances H. Drake heads the executive committee of Leominster's newest club, The Equal Rights Club.[57]
Spearheaded by Miss Monroe, by June of 1875, the club’s public impact can be seen. Following the Equal Rights Club’s “Tea Party” at Kendall Hall, Mr. Blackwell, Lucy Stone’s partner and husband, held a public lecture on Woman Suffrage which Miss S. L. Monroe followed with a riveting speech in her typical “earnestness and candor”.[58] Undoubtedly in the years between their business letters to the Women’s Journal and the formation of the Leominster Equal Rights Club, Mrs. Drake and Miss Monroe put forth efforts to organize the club, and during that period, Miss Monroe made art as well.
The list of premiums at the 1873 Leominster Agricultural Fairs lists Miss S. L. Monroe won the third award, for oil painting with a prize of $1.50. While one may say, “It is just the Leominster Agricultural Fair”, and the third award from it may not seem impressive, especially for a trained artist, but when placed within the context of American Art history, the county, state, and national fairs of the 1870s, exhibitions of art not only allowed women a place to exhibit their works of art but also a chance to place their artistic crafts on display, to be seen as worthy contributions to their agricultural communities and part of the goods they produce; symbolizing their ability to define culture and build community through their art. Interestingly, in the fall of 1886 when Miss Monroe arrived in Gunnison, the new committee for the “art, floral, design, etc..” The exhibition consisted of just women, including those who invited the four artists to teach art to the women of the Gunnison Country.
After the founding of the Leominster Equal Rights Club, Miss Monroe’s notoriety within the woman’s suffrage movement, the club members aimed to increase their activities to bring about social change. In January of 1876, a “Woman Suffrage” petition on behalf of the Equal Rights Club circulated around Leominster and collected four-hundred-and-twenty-one signatures.[59] At that year's June meeting, the Equal Rights Club met at the residence of Mrs. Frances H. Drake, the noted place of refuge for Shadrach Minkins after abolitionists freed him from the Boston federal courthouse during his trial.[60],[61] In September of 1876, Miss Monroe was not among the delegates noted by the Equal Rights Club to attend the state convention.[62] At the annual Women Suffrage meeting of 1877 in Boston, Massachusetts, hosted by Lucy Stone and Mr. Blackwell, Miss Monroe contributed $1.00.[63] A small sum by today’s dollar, about $30, but it was two-thirds of the award for her oil painting at the Leominster County Fair.
In Fitchburg, Massachusetts on March 4, 1880, Miss Monroe’s mother Sophia Gibson Warren passed away.[64] Sophia Warren’s “Find a Grave” only lists Orison and Porter Monroe as her children, as etched in her grave’s headstone, which is interesting as she lived with the family of her daughter Sophia Wyman, and Sophronia remained in Massachusetts until her mother’s death.[65],[66]
In May of 1880, The Women Suffrage Commemorative Convention was held in Worcester, Massachusetts providing the members of the Leominster Club an opportunity to network with other suffragists.[67] Nevertheless, at the end of the month, Miss Sophronia L Monroe joined a group of artists and scientists going with a reporter to explore and document the West only for her to stay in Cheyenne to paint and exhibit historic Western scenes before they changed again, teach art lessons, and frequently be among those in attendance of the political, social, and cultural events and clubs.[68] By 1884 Miss Monroe moved to Salt Lake City to make it her new base to paint, teach, and organize the West while protecting the identity of her students from noisy reporters wanting to know about her studio in 1887.[69] From the moment she arrived during the summer of 1880, Miss Monroe became known across the West for her artistic and organizing abilities to the point she was even receiving invitations to remote mountain “ranch and mining” towns to teach women a variety of artistic practices, paint their changing scenes, and help organize them into action.
Just how influential was Miss Monroe from her downtown Salt Lake City art studio she taught classes out of? As the women of Utah fought to regain their right to vote in 1896, during September, Miss Monroe was selected as a Silver Delegate for District Twenty-One and then in October was a noted speaker at the Republican meeting.[70],[71] In 1898 The Rocky Mountain Daily News mentioned that the Utah ladies residing in Denver would be interested in the Salt Lake Tribune’s list of the new officers elected for the Salt Lake’s Woman’s Club, which Miss S. L. Monroe is listed on the advisory board.[72] After the election, Miss Monroe stepped back from politics only to be called out that she and Mrs. C. E. Allen's voices were needed to return to Utah’s Silver Republican politics to help revitalize organizing efforts to defeat President McKinley.[73] In 1897 Miss Monroe helped organize the Salt Lake City chapter of the Daughters of the American Revolution with Mrs. C. E. Allen, (Corinne Marie Tuckerman), serving as registrar. [74] At the time, Corinne’s husband, Clarence Emir Allen served in the United States Congress as Utah’s at-large Representative.
While Miss Monroe stayed politically and socially active during the late 1890s, she also gave exhibitions and lectures on art, specifically the history of ceramics from around the world to an inquisitive and growing art community in Salt Lake City.[75] Miss Monroe also took part in The Salt Lake Club of Mineral Painters’ “Exhibition of China Painting” at Midgley’s on First South Street. During this exhibition in December 1900, Miss Monroe exhibited her works in “China painting” with those of Mrs. E. H. Justice, Heber Lee, J. l. Herrick, E. D. Post, Houghton, J. R. Miner, and Miss Edith Hobbs and Ethel Valentine.[76] Miss Monroe advertised in The Review, and on the pages, the articles she wrote for the paper appeared her “beautiful line of decorative china, in new and elegant designs”, along with paintings and Christmas ornaments, too which one could buy at her Salt Lake studio on 64 W. Second South Street.[77]
On the efforts of her political, social, and artistic contribution, Miss Monroe was received as a member of the Utah Press Club in 1902 before her health saw her split time between Salt Lake City and Cheyenne, Wyoming where her nephew, Dr. W. A. Wyman, and lived there until her death in 1909.[78] However, in 1903 Miss Monroe would leave Utah politics with this critique about Utah State Legislator, Representative Mary Coulter:
“I cannot imagine why Mrs. Coulter should vote as she did. If it is true, as intimated in on the papers, that it was with the hope that she might be rewarded by being appointed chair of one of the important committees, then her action is to be deplored. It is bad enough for men to be bought in politics, but people expect better of women. There was a principle at stake in this matter and the one woman of the Legislature, at least, should have upheld that principle.”[79]
As a literary critic and public orator, Miss Monroe’s critique undoubtedly struck a chord. While it is unknown the effect her final voice had on Utah politics as her role has yet to be explored or contextualized, however, after Mrs. Coulter’s term ended in 1905, another woman did not serve in the Utah legislature until 1913 despite the foundations laid in 1896 for the woman of Utah to regain the right to vote and serve in the legislature.
On December 19, 1909, Miss Monroe died in Cheyenne, Wyoming at the home of Mrs. O. T. Sheldon. The article stated about Miss Monroe:
The deceased has lived in Cheyenne for many years and has made many friends here who will grieve to hear of her death at an advanced age. Miss Monroe possessed a highly developed artistic ability, and she has been successful as a teacher in china painting. She has painted some very pretty landscape views and other subjects in oil, which she has presented to her relatives and friends.[80]
On Miss Monroe’s death certificate, filled out by her nephew Dr. W.A. Wyman states she was born June 5, 1831.[81] Her friends and family buried Miss Monroe at Lake View Cemetery, in Cheyenne, Wyoming with a tombstone marked S. L. Monroe, June 4, 1831 – December 19, 1909.[82]
Returning to when Miss Monroe possibly painted the “Cow Camp Scene”. In the late summer of 1886, Miss Monroe arrived in Gunnison from Salt Lake City at the request of Mrs. R. I. Towle of Sapinero, Colorado.[83],[84]Miss Monroe arrived in a town of emerging women artists yearning to learn landscape and porcelain painting under her expert tutelage and striving to organize clubs and societies in young and quickly changing communities. Miss Monroe even stayed an extra couple of weeks over her planned two months in Gunnison to finish her teaching efforts, earning her much praise and admiration from her students. However, as Miss Monroe was finishing her classes, the women of Gunnison were not to worry because she was to pass her students off to incoming art teacher Miss Myra Davis. As Miss Monroe’s departure neared, her students gifted her a “very beautiful and elegantly bound volume.”
Miss Monroe, the artist, was the recipient of a very beautiful and elegantly bound volume last Saturday evening, a gift from her pupils, or a token of their esteem and appreciation of her science as a teacher. She has been highly successful here, having had a large class and having given great satisfaction. Her work is very handsome. Under her able tuition many of our ladies have become experts with the palette and brush.[85]
Miss Myra Davis, from Iowa, was coming back to the Gunnison at the invitation of her longtime friend Mrs. Eugine Wilde Olney after she spent some time in New York. This was Myra’s second time teaching art classes in the Gunnison Country, the first being in 1883 in Lake City. The plan was for Myra Davis to take over the class started by Miss Monroe in November to help further refine the artistic abilities of Gunnison’s women.[86] Miss Myra Davis taught classes into 1887 before she headed back East. Mrs. Hartman, Mrs. Shores, and Mrs. Burton, with the help of Mrs. Olney and Mrs. Towle continued their art exhibitions at the Gunnison Fair until the times changed and members of the Gunnison first twenty years of booms and busts, hopes and dreams, moved on, following in the path of those that were pushed out of the Gunnison Country before them by the repercussions of the Brunot Treaty.
Because a second artist was found to have taught art in Gunnison at the invitation of a resident, further research ensued and discovered two other women artists who were invited to teach art in Gunnison within the same time frame as Miss Monroe and Miss Myra Davis, 1882 to 1887. Those two artists had complex and influential lives that went far beyond Gunnison as well. The two other artists, Miss Mary Elizabeth Craig, married Anson Burlingame Johnson, and Miss Clara Treadway, married Thomas Weir, both men who leaned on their artistic and socially savvy wives to build and navigate the complex careers the couples shared. The four women, invited to teach the women of the Gunnison Country new artistic skills so they could refine Gunnison society, also created a unique community of women artists who organized themselves to help others and in the process, assisted the women of Colorado in their struggle to gain their right to vote in 1893 and the women of Utah regain theirs in 1896 where Miss Monroe would champion the Utah’s presidential electors for William Jennings Bryan.
After their art lessons, the students not only produced quality award-winning works of art, but the teachers and students had a profound impact on the social developments of the Gunnison Country and communities which span the imperial ambition of the United States, providing an intriguing glimpse into the role western artists played in shaping its course. While I have just briefly introduced you to Miss Sophronia L. Monroe and the impact she had on Salt Lake City, Gunnison, and Cheyenne; Miss/Mrs. Mary Elizabeth Craig/Johnson, Miss Myra H. Davis, and Miss/Mrs. Clara Pond Treadway/Weir also had impacts far beyond Gunnison which contested and shaped the course of America’s Manifest Destiny during their Imperial Age, thus making the artist of the early Gunnison country more than just wives of miners, ranchers, newsmen, and lawmen making home crafts in the middle of remote idealistic high mountain valleys steeped in a once fleeting ancient lore.
Miss Mary Elizabeth “M. E.” Craig (Johnson) spent the fall of 1883 conducting classes in landscape, oil, and porcelain painting at the request of Gunnison’s premier music teacher and opera singer, Mrs. Carrie (H. L.) Davis. Over that time Miss Craig wished to acquire a furnace so they could fire their own painted chinaware and not have to send her students' work out of the county to be finished.[87],[88] An entrepreneurial endeavor she advertised alongside her class in the Gunnison Review Press. A reporter from the Gunnison Review Press provided this account of Mary’s work and class:
“A Brief Visit to Miss Craig’s Studio, on Georgia Avenue”
A few days ago a Review-Press reporter visited the studio of Miss M. E. Craig, the charming young artist, who has a class and is giving instructions in landscape painting. She has quite a number of pupils, the most of whom have received their entire instruction from her, and although they have been taking lessons only about five weeks, the most of them are showing remarkable proficiency and promise to become adept with the palette and brush. Among her pupils are Misses Jennie Pennington, Minnie Martimus, Ettie and Jewel Gould and others. Her paintings comprise spring, summer, autumn, and winter scenes, views of mountain scenery, etc. Many of them are scenes in Colorado, some of which are views sketched from nature in the Gunnison country. The most of her paintings will bear a close criticism and none of her pupils need be ashamed of the work they have produced under the instruction of their accomplished teacher. Those who desire to spend a half hour pleasantly and profitably would do well to call and examine her work and also that turned out by her pupils.[89]
After several months conducting her class for the women of Gunnison, the student of Mrs. S. M. Davis, in January of 1884, Miss Craig was selling her last paintings from the home of Mrs. H. L. Davis and moving to California, pregnant with the daughter of Gunnison Review Press editor Anson Burlingame (A. B.) Johnson. [90],[91],[92] Anson would soon join Mary in Pasadena California for six months before returning to Gunnison, a married couple with a son on the way.[93],[94]
Mary’s mother, Amanda Craig, after becoming a widow in Pennsylvania, homesteaded outside of what would become Castle Rock in 1873 near her brother-in-law Judge John Craig who visited the office of Sylvester Richardson’s The Sun in October of 1883 while Mary taught her art class.[95] Judge Craig, who Anson helped put on the Fourth of July party the year before, returned to Castle Rock after the short visit but suffered from a long illness afterwards.[96],[97] Mrs. Amanda Craig was noted for constructing the first building in the newly incorporated town and teaching her daughters art. [98] Mary’s sister Birdie (Craig) also owned property outside Castle Rock, while Mary owned a house in Denver. Birdie married J. P. Riggs of Castle Rock. Anson first settled for a short time in Castle Rock in 1881 as editor of the Castle Rock Journal before moving to Gunnison at the end of 1882 to take over as editor of the Gunnison Review Press.[99],[100]
As Mary hurriedly left town in January of 1884. Richardson’s The Sun carried an article warning of the supposed health dangers painting chinaware had on ladies. “I know of a dozen young ladies who have almost become physical wrecks through the china craze, have lost their beauty and animation, and I will be glad when two daubs of paint on a tea-cup will no longer be thought charming.”[101] After Mary moved away from Gunnison in early 1884, through editorials in their respective papers, a conflict between Anson and Sylvester plays out where lives are being threatened over chaos Anson caused amongst the politics of Gunnison’s “old timers”.[102],[103],[104] Anson would move to California with Mary in December shortly after the birth of their daughter Erma.[105], [106] In California, they attended a homestead, and he reported to the people reading the Gunnison Review Press the potentials of Southern California agriculture and the lore of its weather and mission architecture.[107]
After the Johnsons’ six-month sojourn in California, the family returned to Gunnison in April of 1885 as Anson returned as editor of the newspaper.[108],[109] On November 9th, of that year their son Earl was born.[110] 1886 served as an eventful year across the Gunnison Country, and a major change was underway in Gunnison. Mr. Henry C. Olney, former founder and longtime owner of the Silver World in Lake City, Colorado moved his family to Gunnison to assume co-ownership of the Gunnison Review Press, taking over as Anson put down his editorial pen for the paper.[111] Anson kept looking west and the Johnsons acquired property on the Grand and California Mesas of Colorado’s Western Slope that year to develop a fruit orchard and pastures for a herd of cattle. Many of Anson and Mary’s extended family members living on Colorado’s Front Range would soon join them settling between Grand Junction and Montrose.[112],[113]
With a growing appreciation of his efforts with the Western Slope Congress in December of 1892 Anson Johnson received an appointment to be superintendent of the work of collecting an exhibit of Colorado productions for the World’s Fair in Chicago.[114] In 1897, Anson championed the agricultural capacity and capabilities of the Western Slope orchards and the viability of Tokay Grapes.[115] However, over the years Anson’s time with the Western Slope Congress became continuous over differences in agriculture and railroad politics, resulting in cheers from newspaper editors after his appointment as the United States Consul in Amoy China in 1897.While the Johnsons’ family, friends, and associates wished them well on their departure, those he slighted over the years were not so kind in their wishes as the location of his appointment in fortuitously China flip flopped:
A. B. Johnson, a McKinley pie-eater in Mesa County, is rewarded for his stubbornness by the appointment of consul to Foochow, China. This is the place where the citizens turned out a year or so ago and assassinated a hundred or so of American missionaries. If some of the prominent citizens of Foochow will hit this meddlesome fellow in the neck so that he may not return to Colorado there are people who will consider the appointment a good thing and will glorify in the judgment of the president.[116]
The contentious cord Anson struck with Colorado politicians and editors followed him during the family’s time abroad, however, Mary’s family and artistic endeavors from photography to collection of Chinese art frequently found praise.
During the consulship, the Johnson family would split their time between China and Colorado, frequently returning to visit family and give them gifts from across East Asia.[117] However, after Anson’s notable navigation of protecting interests in Amoy during the Boxer Rebellion and the acquisition of the Philippines after the Spanish-American War began exploring entrepreneurial opportunities across the Pilipino islands. Interestingly, the Grand Junction newspaper The Daily Sentinel exclaimed Mary was one of the first American women to land in Manila after the Battle of Manila.[118] Anson pursued different adventures across the Philippines, eventually developing a street rail and electric light companies in Manila and Iloilo and the Insular Lumber Company in Sagay. Anson also appears on the organizing committees for the new Manila Carnival. [119] The festival designed to celebrate Filipino culture awarded a Carnival Queen and the transformative Philippine woman suffragist, Purificacion "Pura" Villanueva Kalaw was crowned the first Queen of Manila Carnival in 1908.[120] During that period Mary traveled to and from the United States frequently to visit family, take her children to boarding schools, and attended to her mother in Denver while her mother was ill.[121]
Anson’s cousin Dr. Carl Johnson joined the Johnson family in Amoy, China where he served as a doctor at the consulate during Anson’s tenure and that of fellow Coloradoan, John H. Fesler, who replaced Anson as consular in 1901.[122] Soon after Sarah Rhodes heads from Denver to marry Carl Johnson and move to Amoy as well.[123]
Upon their returns from East Asia, the Johnson cousins exhibited their immense collections of Chinese and Japanese art in Los Angeles, California and Montrose, Colorado while bringing back souvenirs for friends and family. Sarah and Carl exhibited their collection at the Montrose County Fair and Mary and Anson exhibited theirs at the Los Angeles Museum of History, Science, and Art.[124],[125] Their collections and exhibitions of Chinese ceramics were acquired during a period of turmoil and were immense in size and scope for the period. Due to the time, size, and locations of their collecting activities, Amoy and Manila, during wars and rebellions created paths for ancient, religious, and stately works of art to make into the market. In 1922 Anson borrowed some of the collection they had on exhibit at the Los Angeles Art Museum to give a lecture on Chinese porcelain and bronzes at the Mission Inn, presenting a unique 3400-year-old sacrificial wine vase, among others.[126]
The Johnsons returned to California permanently in 1916 where Anson went on to serve as a California State Senator and Representative, co-authoring legislation forming the Los Angeles Water District responsible for managing water from the Colorado River and authoring a bill for the use of public funding for county museums. [127],[128],[129] On June 22, 1932, Mary Elizabeth Craig Johnson passed away in Pasadena, California. “…following a seven years’ illness. Noted as an artist and collector of art objects, Mrs. Johnson, who was 72 years of age, had been a local resident for almost fifty years.”[130] The fifty-year reference to being a resident is from the Johnsons' move to California in 1884 to homestead. The Johnsons’ collection of East Asian art worth over $250,000 at the time, which was on exhibition at the Los Angeles Expositions in the 1930s, was said to be donated to a museum upon Anson’s death in 1934.[131] However, records searches of Los Angeles museums have not yet provided any insights into the current location of that collection, but research is ongoing.
Fascinatingly, in 1923, Anson compiled a handbook to accompany the collection’s loan for exhibition at the Los Angeles Museum of History, Science, and Art. The handbook describes the collection consists of three-hundred-and-seventy-five pieces arguing there may not be a collection of greater extent of Chinese porcelains since the breakup of the Morgan Collection at the Metropolitan Museum of Art in New York and the withdrawal of the Hippisley Collection from the Smithsonian. The Hand Book Of A Collection Of Chinese Porcelains Loaned By A. Burlingame Johnson, On Exhibition In The Los Angeles Museum Of History, Science And Art, provides two-hundred-and-forty-two images of objects from the collection with descriptions on their history and provenance.[132] Because Mary and Anson curated exhibitions of Chinese art and culture for fifty years from the 1884 Chinese New Year’s celebration in their Gunnison Review Press to the display of their immense and described collection at the Los Angeles Museum of History, Science, and Art, they created a path for the appreciation of Chinese art and culture despite a series of Exclusion Acts and riots which were confronting Americans’ ability to appreciate such works.
During the early 1880s Mrs. Clara Pond Treadway, a journalist, poet, sketcher, and painter from Crown Point, New York but living in Colorado since at least 1870, spent the summers of 1881 and 1882 in the Gunnison Country practicing and teaching her artistic talents. Clara is found attending a dance in Denver seven years after her sister, Alameda Rawson Treadway moved to Denver to teach classes at the west side school, which the May flood of 1863 destroyed near midnight. Clara and fellow teacher Miss Rice had to be rescued by horseback.[133],[134],[135] Three months after the infamous Denver flood, Major Wynkoop reported on the expedition in pursuit of the Ute across their territorial range from Salt Lake east to the Parks, south into New Mexico, and north into the Platte, recommending a post on the outskirts in Middle Park. The newspaper editor contradicted Wynkoop by suggesting a place west of Fort Garland along the Gunnison route as a way to put pressure on the Ute hunting grounds along with opportunities to open them up for settlement.[136] In 1865 Alameda resigned her recently acquired position at the Colorado Seminary and married Judge Oliver A. Whittemore in Denver. [137] Judge Whittemore’s cases and judgments would provide Clara with plenty of material for her writings for Eastern publications.[138]
From Clara’s first moment in Colorado, she began traveling around the territory, writing poetry and drawing scenes around the changing Colorado for articles in Harper’s Monthly and Eastern and local newspapers.[139],[140],[141] Clara eventually found her way into the Gunnison by 1881 as the guest of Sheriff J. H. and Mrs. Bowman captured it in her style. Clara spent 1882 in Crested Butte, which inspired her poetic ode to the Crested Butte.[142], [143], [144]
Clara Treadway held classes in painting in Gunnison and Crested Butte during 1882 and taught art in Denver and Pueblo while making a life in Leadville and Denver over the following years. [145],[146] After Clara married Thomas Wier during the summer of 1886, they would travel across the Gunnison Country investigating mining claims they could invest in. Clara frequently assisted Thomas in the management of the A.Y. and Minnie Mines in Leadville, Colorado, a community on the eastern edge of the first Lake Country. The mining community of Leadville was able to be established when they selected the Cochetopa region for the agency, thrust Ouray of the Tabeguache to become in the eyes of the United States, chief negotiator for the Núuchi and the cow camp cabins the center of many peaceful discussions, trade, and interactions between representatives and agents of the nations.[147],[148]
After developing the mines that fund the Guggenheim empire, in 1888 Thomas and Leadville’s poet laureate, Clara, moved to Montana after Thomas was offered management of operations of the Granite Mountain Mine and Mill outside Philipsburg. During their time, the mine would reach its peak production and in 1893 Thomas sent a small silver bar from the mine to Chicago’s World’s Fair to become the final nail in the Women’s Pavilion. Clara included this ode to the silver brick and women of the World’s Columbian:
“The Song of Silver”
From the heart of the Rockies I come,
Wakened up, in my deep silent home,
From my sleep of a century there,
By the drill and the glare
Of brilliant explosion in air.
I have been in the heart of the furnace entombed.
There was the, in my, that could not be consumed.
I shall live when the hands that evoke me today
With their cunning and strength shall have long passed away.
One pure flake, from the store house of nature I come,
From Montana – my home.[149]
- Clara Treadway Weir 1893.
Clara included a second poem for the dedication of driving in the final nail in Women’s Pavilion:
Montana's offering here behold!
Her best she sends with greetings true,
The copper, silver and the gold,
The sapphire, with its eye of blue.
Come from our rich and fair young state,
And for your touch they now await.
Drive home the nail fair woman's hand.
Strike firm and true for womankind.
There never yet, in any land,
Has been a day like this divined,
When woman's hand should hold the sway,
It does in our dear land to-day.
Drive home the nail, the copper shines
For woman's patient servitude.
The silver, love of all mankind.
The gold, her faith in God the good
To whom she looks through all her days
To upward guide her thoughts and ways.
Drive home the nail with small soft hand,
Which finishes the structure now.
Columbia's manhood in our land
Divides the laurel from his brow.
And through all time when doubts prevail,
May woman's hand drive home the nail. [150]
- Clara Treadway Weir 1893
In 1896 the Weirs moved to Salt Lake City and Clara began to enter the same social circles as Miss Monroe and lived within blocks of each other and Miss Monroe’s studio. Thomas would go into business with an old business partner from Denver, Samuel Newhouse, where they developed the Highland Boy Copper Mine into the largest copper mine of the time. Newhouse acquired the property through a series of investments and sales which Thomas and Clara’s name are frequently involved in, most notably transferring fifty-four of their Highland Boy claims, worth $138,500, to Newhouse in April of 1898.[151] That transaction allowed the Weirs to build one of the most remarkable homes in the impressive South Temple Neighborhood located at 519 East Brigham Street (now South Temple) on the corner of F Street.[152] The sudden demolition of the Weir-Cosgriff home in 1965, shocked the community and a call went out across Salt Lake City to preserve its fleeting historic properties.[153]
During her time in Salt Lake City, Clara Treadway Weir became an active member of the “Spirit of Liberty” Chapter of the Daughters of the American Revolution. Her poem is still used by the organization today. [154],[155] Clara and Thomas also devoted much of their time to work in the Presbyterian churches of their communities, with Thomas frequently singing in musical performances. [156] Clara would publish a collection of her poems, most of which were published across the county, entitled Kinnikinic, A Book of Western Verse in 1907 as Thomas attempted to transition into a career in politics.[157] After the unsuccessful election attempt, the couple eventually went on a tour of the world seeing the Panama Canal, Norway, and Italy among others before a downturn in Clara’s health took her life in 1916.[158],[159] Thomas Weir remarried in 1920 to Jessie Elizabeth Patterson Weir, daughter of Benjamin Franklin Nye Patterson, co-founder of Glendale, California. The couple had two sons, Thomas Patterson Weir, and Benjamin Martin Weir before he passed away June 15th, 1932.[160]
In 1883 Mrs. Eugene Wilde Olney invited her friend Miss Myra Davis from Iowa to Lake City, Colorado for the summer. Miss Myra Davis and Mrs. Olney both attended Cornell College in Mount Vernon, Iowa to become teachers and leaders of schools. Mrs. Olney and Miss Davis also shared a history of family tragedies that directed their lives with Eugine losing two children and Myra her parents then her convalescent sister.[161],[162],[163] Arriving on the heels of Alfred Packard’s first trial for cannibalism, Miss Myra Davis conducted a series of lessons in oil painting for the women of Lake City over the summer while becoming the best archer in the town’s new archery club.[164]
In 1886, Mrs. Olney, now back in Colorado with a healthy daughter and living in Gunnison, also hosted Miss Myra Davis when she took over the classes started by Miss Monroe several months prior. Miss Monroe arrived to teach her class in Gunnison as Alfred Packard’s retrial for cannibalism concluded. Mr. Henry C. Olney, an early resident of Lake City, was owner and editor of the Lake City’s The Silver World, which advertised Myra’s classes over the summer of 1883, took over as owner of the Gunnison Review Press and advertised the 1886 art classes throughout the fall.[165] After Anson Johnson transferred his editorship of the Gunnison-Review Press in the summer of 1886, it left Henry Olney in charge to challenge Gunnison politics, supporting the arts, and organizing and advertising a second try at a Gunnison County Fair through the paper. That spring, Anson began pursuing developing a fruit nursery and ranch on the Grand Mesa of the Western Slope, with the family moving from Gunnison in the fall.[166],[167]
After completing her classes, Myra Davis stayed touring the Gunnison Country with Mrs. Olney and her daughter Pansy Olney until November of 1887.[168] During Myra’s train ride from New York to San Francisco in 1888 she wrote to Mrs. Olney and informed her she was heading to the tumultuous capital of the Hawaiian Kingdom, Honolulu.[169] Miss M. H. Davis arrived in Honolulu on August 21st, 1888 onboard the S.S. Australia to teach at the Kawaiaha’o Female Seminary School.[170] Myra’s trip to Hawaii came a year after the under duress signing of the "Bayonet Constitution" by King Kalākaua. The non-native Hawaiian League constitutional initiative led by Lorrin Thurston stripped vital powers of the Monarchy and the social and political rights of Hawaiians. The new constitution allowed for foreign interests to solidify their positions overseeing land, social, economic, cultural, and political administration of the kingdom.[171]
Over the next three years, Myra gained a reputation at the school for her strict discipline of the students who were under threat of leprosy, assaults, and arsons from those passing by their open downtown Honolulu campus. After the death of King Kalākaua while on a trip to San Francisco in January of 1891, Queen Liliʻuokalani attained power and began attempts to institute cultural reforms, especially at the school. Interestingly, when the King died, his death was not reported in Hawaii until his body arrived by steamer, but the students of the seminary had a noted increase in their unruly behaviors which the teachers debated the need and types of disciplines to control. As conflicts among the school’s staff, administration, and students continued through the spring, several teachers submitted their resignations. As their students were giving their end-of-the-semester presentation to the royal court, Myra, and fellow teacher Miss Peapoon hurriedly left Honolulu on the S. G. Wilder to San Francisco. Miss Myra Davis went on to teach at Whitman College in Washington until her death on October 9, 1898, leaving $1000 to the college to help less fortunate girls attain an education.[172]
The Johnsons, Weirs, and Miss Monroe would all eventually live in Salt Lake City, Utah during the 1890s, among other places across the Western Frontier of the United States the couples would live in as well. The Johnsons and Hartmans also owned property on the Grand Mesa and in California as well. After Clara died in 1916, Thomas Weir eventually remarried, had children, and moved to California. The Olneys stayed in Gunnison for some years with Eugine being active in the Woman’s Relief Corp, Colombiana Club, and Equal Suffrage League. The Olneys eventually left Gunnison and settled in Spokane, Washington. Sheriff Doc Shores and Agnes Shores moved to Grand Junction, Salt Lake City, Utah, and back to Montrose, but both are buried in Gunnison.[173]
The Hartmans moved to Grand Mesa and back to Gunnison for a period when their daughter Leah attended school at Western, then moved on to Mojave and then Lynwood, California when Leah settled there to teach while also heading Western’s California Alumni Club.[174],[175] Leah Hartman attended college in Gunnison learning music and education and frequently performed recitals as a solo or in duets and quartets while teaching at various schools.[176] Interestingly, in 1921 Leah met Ila McAfee and her musical classmate Ena Miller in Denver for their return trip to Gunnison after spending the winter at art school in Chicago.[177] The following year, Ila and Leah returned to Gunnison for the summer after their semesters teaching.[178] In 1922, Elmer Turner returned to Colorado and took charge of the high school art department in Fort Collins while spending the summer in Western Colorado with friends from his art studies in Chicago, collecting materials for their fall semester.[179] Therefore, the two teachers’ colleges, in Gunnison and Greeley Colorado, educated and trained two Colorado art teachers who furthered their studies together in Chicago, returning in between to teach art at schools across the state and collect Colorado materials and inspiration for their next semesters.
Mr. and Mrs. H. L. Davis, the musical duo from Cincinnati and owners of the Mullin House, teacher, and performer of music and organizer fairs, moved on to Denver from Gunnison shortly after the 1886 fair.[180],[181],[182] Mr. and Mrs. R. I. Towle’s Sapeniro Hotel and its contents were sold at sheriff’s auction in 1892, and any possible painting by Miss Monroe at the hotel auctioned off.[183] The Towle’s resettled along the Pend Orlien River in the town of Newport at the border of Idaho and Washington.[184] Interestingly in 1882 Mrs. H. L. Davis recounted her Cincinnati friend and music instructor Caroline Staub Rivé, placing Mrs. Davis within a cultural scene in which Maria Longworth Nichols founded Rookwood Pottery in 1880 to produce painted porcelain similar to the East Asia and European porcelains exhibited at the Centennial Exposition.[185],[186]
In 1883, Mrs. Lydia A. Burton, and her husband Mr. Edawrd W. Burton, a Gunnison merchant, advertiser in the Gunnison Review Press, and fair organizer and award winner, purchased the Globe Theater and opened the Academy of Music.[187] Mrs. Burton frequently served on the Fair’s “Art, Floral Designs, ect.” committees besides being a renowned florist and painter. Mrs. Burton won the Colorado State Fair premium award for a landscape painting by a professional in 1890, the year and just days after Miss Monroe saved the day by painting the award banner for best mineral exhibit at the Gunnison County Fair.[188] Mrs. Burton won over the acclaimed students of Mr. Hutchinson of Pueblo, whom she was also a student of, according to the Gunnison Review Press.[189] Peculiarly, at the Gunnison County Fair that year, Mr. Burton won the best mineral exhibit, while Mrs. Shores won the premium for landscape painting and Mrs. Hartman the premium for flower painting.[190] Eugene Olney, Lydia Burton, and Jessie S. Purries represented Gunnison at the Colorado and Nebraska Women’s Relief Corp annual encampment.[191] In the fall of 1892, Mrs. Burton began conducting her second fall of art classes in Gunnison. Tragically her son died in November, and then her husband in January.[192],[193],[194] Lydia moved to Denver to open an art studio and then millinery store.[195],[196] Mrs. E. W. Burton regularly advertised in The Queen Bee “Paintings for Sale. Lessons Given.” at her 411 South Water Street, West Denver art studio.[197]
Interestingly, each of these women invited to teach art in Gunnison, their students, and their patrons, had their lives crossing paths there and then beyond afterward where they continued to have transformative effects on their communities. However, because of who Miss Monroe was throughout her life, consistently being noted in articles among the names of the nation’s most influential woman’s club and movement leaders, something else happened in Gunnison when she came to teach art to the women there. Miss Monroe also came to help people organize their community into action. As an often-noted organizer and officer in clubs, in addition to notes on her talents as a multi disciplined artist in painting, oration, critique, education, exhibition, curation, donation, and retailing, Miss Monroe undoubtedly helped her Gunnison students organize the art exhibition for the fair and encouraged them to seize on the opportunity it provided them to showcase their talents as artists and organizers that can get things done under pressure. This then becomes an important moment for a community of women striving to organize the votes necessary to gain their right to suffrage as those students go on to not only create award-winning art works but also as organizers and officers of women’s clubs leading to their exhibitions at the 1893 Chicago World’s Fair and Colorado’s vote for women's suffrage that same year.
Nonetheless, upon Miss Monroe’s departure from Gunnison in 1886 she was gifted a handsome volume by the women she taught, demonstrating they had a found appreciation of her extra efforts. When Miss Monroe returned in 1890, to help her Gunnison friends on the art committee of the Gunnison County Fair, she saved the day during the nearing moments of the fair, completing the landscape scene for the impressive banner award they committed to months previous to present to the winner of the fairs best mining exhibition. Indubitably, Miss Monroe made an impression on her friends and the people of Gunnison, especially when they visited Mrs. Hartman at the castle and they recounted stories about the history of Miss Monroe’s painting hanging from its walls, marking the home’s place in history and the exhibitions of art they had leading to their efforts for the Women’s Pavilion at the 1893 Chicago World’s Fair and Columbian Exposition.
During the period Miss Monroe conducted her class in Gunnison, from September to November of 1886, her students organized an exhibition of oil paintings for the second Gunnison County Fair. In my prologue, I set the historic scene for this fair based on newspaper articles about it and the moment her students finally arrived with their oil paintings on the third day to exhibit their works. Sources discovered so far do not discuss what paintings or who exhibited the works at that fair. As I uncovered more about Miss Monroe, the women of the Gunnison art scene, and their change in social activities after the fair, I envisioned something happening at the fair because of Miss Monroe. Nevertheless, the most noted artists of the Gunnison Fair from its conception to transition, Mrs. Burton, Mrs. Hartman, Mrs. Olney, and Mrs. Shores were also noted social organizers during the era . Women in Colorado gained a right to vote and the chapters of the Daughters of the American Revolution were organized out of the Lady Relief Corps and Grand Army of Republic organizations they partook in and organized. They also organized new clubs like the Monday Afternoon Club and continued to pass on the knowledge and culture learned from those art classes to their children, especially the daughters of the Gunnison they strived to look after and support into the 1930s.
Through the examination of the artistic community centered around Miss Monroe’s associations in the Gunnison Country, it became evident in the communities of the region, that women actively developed literary, oratory, musical, theatrical, and dance productions; curated exhibitions of art, geology, agriculture, and history; while pursuing entrepreneurial endeavors in millinery, painting, floral arrangement, porcelain ware, and culinary delights twenty years before Ila McAfee was born and continued on those practices and traditions through her life in the Gunnison Country, thus providing her an artistic foundation which allowed her to experience and seize the opportunities to flourish as a professional artist in the American Southwest. Moreover, as the women pursuing missionary, education, health care, and relief work displayed their artistic pursuits while organizing social and political clubs during the late 1800s, they created a foundation for unique artistic communities to develop and revere the region’s ancient artistic communities.
Four Frisking Fillies
Four Fillies Frisking in the Sun,
For them, it’s happy dancing fun
Cavorting in extra energy display –
Showering high exuberancy in action play.
Stirring up dust like clouds in the sky
Is just a whirlwind horsey spin-by.[198]
- Ila McAfee
When did Miss Monroe paint the Cow Camp Scene?
With Miss Monroe being in Colorado and Gunnison multiple times between the 1880s and 1890s and inconsistent and unclear dates on its completion, I have had questions about its possible completion in 1886. With no mentions uncovered so far of Miss Monroe being in Gunnison before 1886, although she did travel throughout mining communities in Colorado during the summer of 1882, I am confident she completed “Cow Camp Scene, circa 1880s” in 1886 during her time teaching art and for several reasons. First, Miss Monroe, a noted painter of historic scenes, arrived just after the second Alfred Packard trial where the surviving party would have known those cabins in that location, which also had a long history with the Núuchi, Manifest Destiny, and the Hartmans. Second, the Hartmans were spending time at the cow camp scene property that fall, building their first home on the site, making it an ideal moment to capture the historic scene before it was changed forever. Furthermore, Hartman's efforts to organize and exhibit at the fair that year, and their connections to the artistic community associated with Miss Monroe, the gifting of the painting demonstrates . A unique connection existed between the Hartmans and Miss Monroe as she regularly gifted paintings to friends and family and to fundraise; which the Gunnison Ladies Relief Corps engaged in fundraising activities at the Fair.[199]
Because the 1886 Gunnison County Fair marked the first of many annual exhibitions of art from the Gunnison artists taught by Miss Monroe, as I propose in the prologue, because of the historic nature of the painting and purpose of the agricultural and mining fairs, the “Cow Camp Scene, circa 1880’s” was recently completed in the fall of 1886, in plein air, and because it documents a most historic moment of Gunnison Country’s agricultural history, the painting was part of the oil paintings on exhibition in the fair’s art tent before being gifted to the Hartmans.
Conversely, a second possibility persists after my research for telling the larger story of the four artists who taught art in Gunnison in the 1880s and from the painting itself. Because Miss Monroe traveled to Gunnison multiple times, I wondered if she painted the scene over a period of time and from her sketches from the field, as she is noted to have done with her painting of the historic scene of the Dale Creek Crossing in Wyoming between 1880 and 1881.[200] Additionally, Miss Monroe is noted to have toured Colorado with Mr. and Mrs. C. F. Annett in 1882.[201] The three members of Cheyenne’s Literary and Musical Society stopped in at least Golden, Georgetown, Manitou, and Leadville on their June trip to Colorado. [202],[203] Miss Monroe had an intriguing relationship with the Annetts as they moved to Salt Lake City by 1884 when Miss Monroe moved there as well. From the moment she arrived in Cheyenne, Miss Monroe knew many influential people across the West, especially those coming and going from Gunnison, like meeting former President Grant and Mrs. Grant just after they left a meeting with Chief Ouray and as he was dying. Therefore, Miss Monroe being in Gunnison at any point between 1880 and 1893 to paint that historic scene and donate the completed work to a person directly related to its most important moments is possible, but with the fall of 1886 still being the most likely convergence of events for her painting the scene and making the donation.
Nevertheless, two catalogs for the painting supplies which Miss Monroe used in the painting, present an issue. In the 1885 and 1895 (figures 6 and 7) Illustrated catalogue of Wadsworth, Howland & Co.: importers and dealers in artists' supplies and architects' and drafting materials, only the 1895 catalog has an advertisement matching the academy boards listed on the Wadsworth, Howland & Co advertisement located on the back of “Cow Camp Scene”.[204], [205] Additionally, Miss Monroe returned to Gunnison in 1890 to assist with the completion of a banner to award the best mining exhibition at the Gunnison Fair. This was on the heels of her trip to Washington D.C. for the National Encampment the Women’s Relief Corp concluded to have an impressive showing of women’s artwork at the Chicago World’s Fair.[206]
In the fall of 1893, the Hartmans traveled to Chicago to attend the World’s Fair, Alonzo taking a herd of cattle north to Omaha before meeting Annie in Chicago for the World Fair.[207] The couple returned from the World’s Fair with a train car full of furniture to decorate their newly constructed Castle, which upon their return, they were hurriedly readying so they could finally entertain friends and family at the castle over the coming winter.[208],[209] Mrs. Annie Hartman would subsequently use the turret room of the Castle, with its views of Dos Rios as her studio, which she had painted scenes directly on its walls.[210] Annie Haigler and Alonzo Hartman married on Sunday, January 29th, 1882 in Monticello, Kansas and on their twelfth wedding anniversary they opened their newly completed castle to friends and family to celebrate the occasion.[211] Therefore, the possibility exists that it was not until the 1890s and on Miss Monroe’s 1890 trip or a meeting after the Chicago World’s Fair trip in 1893 that Miss Monroe gifted the Hartmans the painting.
As the possibility does exist Miss Monroe was taking a sketching trip through Colorado when with the Annett’s, she could have met the young couple at the Dos Rios ranch and sketched it then. Mr. C. F. Annett was manager of the Atlanta and Pacific Telegraph Company in Cheyenne, Wyoming, and is noted for stringing the wires from Cheyenne to Denver and Greeley to Denver.[212],[213] However, by the spring of 1882, Mr. Annett was managing a telephone system in Cheyenne with fifty subscribers and growing, which benefited from news reports of his exploits from protecting his family from assaults and using the telephone to make an alert call to officers and the community to find the criminal(s) at large.[214],[215] As Miss Monroe and the Annetts moved to Utah, Mr. Annett went on to manage and be president of the Rocky Mountain Bell telephone company in Salt Lake City.[216] During their June of 1882 trip, Mr. Annett may have been conducting business in Gunnison as telephone companies struggled to install and then slowly gain subscribers to the region's new telephone system. Given an incomplete list of the groups noted stops in burgeoning mountain mining towns with new telephone systems going in and the development of the telephone system in Gunnison, the Monroe and Annett party may have stopped in. And Alonzo Hartman being Gunnison’s longtime postmaster, in the quickly metropolizeing downtown, the Hartman’s would make ideal customers for the new telephone systems Mr. Annett knew how to sell and install. This could have been an ideal moment for Miss Monroe to meet the couple and spend an idealistic summer day sketching the historic scene they were dreaming of turning into a home; and giving her a reason and friends to return to Gunnison to see and teach and paint for.
Conclusion
This study identifies who Miss Monroe was, Sophronia L. Monroe, a noted artist and woman suffragist organizer born in Massachusetts in 1832, who lived in Wyoming and Utah from 1880 until her death in 1909, who was invited to teach art to the women of Gunnison in 1886 and painted the “Cow Camp Scene” she gifted to her likely student, Mrs. Annie Hartman; the historical significance of the scene depicted in the painting “Cow Camp Scene”, the Los Pinos Agency’s Ute cow camp which former camp hand Alonzo Hartman maintained for his post office and store and served as the center scene of the family’s homestead; identifies the most probable timeline and time frame the painting was completed and gifted; and proposes the possibility of a transformative community of women artist and the patrons of their art, therefore, an art colony, formed in a remote Colorado mountain town that was aiming to transform Gunnison, Lake City, and Crested Butte from not just being booming and busting mining camps and small ranch towns that cannot grow anything but sagebrush, but to transform them into cultural metropolises of bountiful wealth they could change the world from.
Furthermore, this study has presented a history of a group of artists and patrons whose artistic, social, and cultural legacies have been lost to the pages of history. Works such as Bell and Gunia’s Women of the Colorado Gold Rush and Snodgrass’s Frontier Women and Their Art, do not include the four art teachers, Sophronia Monroe, Myra Davis, Clara Treadway / Weir, and Mary Craig / Johnson nor women related to Gunnison. Snodgrass does touch on related people to the artists such as Queen Liliuokalani and Ouray and Chipeta, however, the comprehensive encyclopedia misses those artists with a transformative historical records as poets, painters, journalists, historians, orators, musicians, photographers, milliners, florists, ethnographers, editors, essayists, potters, and more.[217] Taylor’s Influential Women Artists Of The American West In The 20th Century, does not include mentions of the artists that practiced and collected into the 20th Century, nor does Taylor include Ila McAfee despite being rewarded her seventy-five year career with the honor of Taos Artist of the Year in 1981.
When examining the sources related to covering the history of Colorado's Western Slope and Gunnison, the community of artists are rarely found while their patrons have limited discussions over their relationships to Western art. Historians frequently discuss the Hartmans, Shores, and Olneys, but mostly the actions of Alonzo, Doc, and Henry as a rancher, sheriff, or entrepreneur, respectively. Wallace, Sammons, Smith, and Vandenbusche provide descriptive accounts of the newspapers, mines, railroads, opera houses, hotels, and notorious individuals. However, those same sources have limited discussion concerning the lives of their wives despite a wealth of records demonstrating the active participation of Annie, Agnes, and Eugine as educators, community organizers, and award-winning artists with fleeting discussions on the Women's Suffrage movements and their relief corps. Even the frequently cited Western Slope journalist and Colorado woman suffragist Lillian Hartman Johnson, the editor and proprietor of the Rico Record in the 1880s and Lillian Hartman’s Colorado in the 1900s and author of The First Christmas Gift; Poems and Prose Pastels in 1908, rarely finds her contributions discussed, even though Denver reporters mused over her.[218],[219],[220] While historians such as, Sternberg et al, Allen, Faulkner, Swanson, and Beaton have revived the history and contributions of a wealth of women artists, especially those with well-preserved works held in collections at the major institutions, there are limits to the regionality of their coverage, as demonstrated by the gap identified in this study.
Afterwards
The Gunnison Country is a historical geographic term that refers to the greater Gunnison watershed in Western Colorado, named after Captain John Gunnison, who met his fate while exploring the region on an expedition for the United States in 1853. The reports from that expedition influenced the settlement route through the traditional homelands of the Uncompahgre (Tabeguache) Ute / ꞌAkaꞌ-páa-gharʉrʉ Núuchi, which centers around the larger Gunnison watershed. While researching the lives of these four women artists and the cow camp scene painting related to Miss Monroe, a greater story unraveled related to the historical importance of the painting and how this community of artists, contemporaries of Chipeta and living and moving through the country Chipeta called home, helped shape the course of Manifest Destiny came into focus.
To honor the artistic legacy of the region in which this story takes place and the historical region of the Núuchi and Uto-Aztecan language family, for my future discussion on the art history of the Gunnison Country I will use the term Chipeta Country to refer to that geographic region of the study, the front range to pacific slope of the Southern Rockies. Chipeta was one of many predecessor and contemporary artistic designers, organizers, orators, and teachers of the four women who were invited to Gunnison to teach art just after she was forced to leave her home at the heart of the Uncompahgre Valley.[221] Upon Chipeta’s removal from the Gunnison and Uncompahgre Valleys to the Uintah Valley, along with many other Núuchi, a Gunnison newspaper heralded her and asked that she have a page in history, to which my larger study into the impact of the region’s art history on Manifest Destiny will oblige, providing her not only the honorific regional naming for her representation of the region’s art history, but also providing the artistic legacy of Chipeta and her memorialization more than just a page in my forthcoming manuscript, Finding Miss Monroe and a Lost Art Colony of Gunnison, Colorado: An Art History of Manifest Destiny.[222]
Accordingly, the subsequent manuscript from uncovering who painted the “Cow Camp Scene circa 1880s”, Finding Miss Monroe will also present the biographical survey of the lives of the four artists worthy of historical note: Miss Sophronia L. Monroe, Miss Mary “M. E.” Craig (Mrs. A. B. Johnson / Mrs. Anson Burlingame Johnson), Miss Myra Davis, and Miss Clara Pond Treadway (Mrs. Clara Treadway Weir / Mrs. Thomas Weir) and their respective Chipeta Country patrons and students. Through a comprehensive survey of newspapers; census, membership, and enrolment records; and archival resources from around the world, these artists’ stories come to life in the historic backdrop they were a part of and helped define to become the artists noted to be worthy of an invitation to teach art in Chipeta’s Country. The study will contextualize the group of artists within a larger art community of Colorado’s Western Slope, Colorado, the Western States, and Globally and the historic impact they had in Gunnison and beyond in places Chipeta’s name still rings, while illustrating the impacts the processes of fulfilling Manifest Destiny was having on the evolution of their communities as the Monroe Doctrine was used to justify the nation’s expansion at the turn of the Twentieth Century.
After each of the women received invitations to teach art at the request of several prominent local women, there were notable cultural, social, and political transformations within the groups they associated with, which allowed them to have unique and historic impacts in and far beyond Gunnison. While still pursuing their own lives, the artists, and patrons’ lives frequently crossed paths with each other, often living and working in the same regions and cities, while joining the same clubs and organizations. Even with the parallels in their lives, their uniqueness shines through as they defined, captured, and shaped the world around them. The artists were found to be activists, organizers, and entrepreneurs who supported and challenged social, cultural, and political discourses throughout a transformative fifty-year period of Western United States history, 1870 to 1920 with the ripple effects of their lives going far beyond in both time and place.
Therefore, Finding Miss Monroe will demonstrate how these artists played a central role in forming an activist art colony in the wounded heart of the Uncompahgre (Tabeguache) Ute / ꞌAkaꞌ-páa-gharʉrʉ Núuchi spiritual and artistic homelands which helped bring relief to suffering families and rallied the votes in support of woman suffrage and debates on free silver among their many political interests. Additionally, Finding Miss Monroe will illustrate how these artists navigated the challenges of quickly changing social norms, which could vary drastically from place to place and person to person, to have a historical impact that reached around the world. Moreover, because the creation, loss, discovery, and preservation of cultural artifacts permeate throughout the lives of those examined in Finding Miss Monroe, modern preservation efforts related to preserving that the fleeting past and energies to return voices once silenced in the historic record will be brought back to argue their case for preservation now and in the future.
While Chipeta’s Country is the central historic hub leading this study, the survey starts many years before where the four Gunnison art teachers were born and educated: Massachusetts, Vermont, New York, Pennsylvania, and Iowa, and follows them to the places they become frequently noted in Cheyenne, Wyoming; Salt Lake City, Utah; Denver, Castle Rock, Crested Butte, Leadville, Montrose, and Grand Junction, Colorado; Honolulu, Hawaii; Pasadena, California; Phillipsburg, Montana; Newport, Washington; Amoy (Xiamen) China; Manilla, Philippines and many points in-between and back to Gunnison where the legacy of that community shaped the lives of the next generation of artists and collectors who helped stop and preserve the fleeting loss of the region’s most ancient culture and modern relics.
Although the four art teachers center the story, a greater community of entrepreneurial writers, crafters, masons, bakers, brewers, cooks, barbers, nurses, educators, servants, retailers, and travelers existed around them and their patrons. Will Clark, Gunnison’s long-time shoemaker, benefited from the Moses Bloch advertising a place to buy them in the Gunnison Review Press. Undoubtedly, “Aunt Susan” Bryan’s assistance allowed for a half hour to hour to be found to hold a relief corps or club meeting or attend a late-night lecture or concert. Ferdinand Shavers kept the appearance of the town's gentlemen in the latest shape, while Miss Sue Davis kept the ladies in the newest fashions. All the while L. W. Henry’s Chinese Notion store provided Gunnison with a link between the legends of the “Wild West” and “Celestial Empire” while L. W. Sing and Wah Kee contended with Kate Lowry and Harriet Jones to keep the community presentable to investing capitalists.
From bumping elbows with the Queen of Oration (Lucy Stone), Queen of the Manila Carnival (Purificacion Garcia Villanueva), the Queen of Hawaiians, Queen Liliuokalani (Lydia Liliʻu Loloku Walania Kamakaʻeha) and Queen of the Uncompahgre (Chipeta) to helping the Hartman’s, Olney’s, Towle’s, Shore’s, Burton’s, Bloch’s, Davis’s and more shape Gunnison and the communities they would eventually move on to with memories of their time, efforts, and friends in the Gunnison Country being ever present to them, the lives of these four artist, and the families and communities that supported their entrepreneurial endeavors, Finding Miss Monroe will provide a compelling examination of the historic impacts Manifest Destiny had on the slopes of the Pacific Rim it touched and the role a fascination for artists, art collectors, and art exhibitions played in shaping it.
On October 3rd, 1883, Miss Kate Fields visited Gunnison. The largest audience at the Academy of Music had held her lecture to date.[223] After her speech, The Sun questioned whether Gunnison was transitioning to having good order or if Miss Kate Fields. Was that good of an orator to keep the audience that spell bound? Nevertheless, the reporter expected Gunnison to want more of Kate Fields.[224] In early 1885, the community held hopes of new opportunities for that good, a bill in the Colorado legislature to form a state normal school in Gunnison for teachers was proposed and failed, at the same time Gunnison’s community of African Americans undertook efforts to bring in an educator for their own.[225],[226] In 1889 the State Normal School of Colorado was established in Greeley, Colorado and the efforts of that early community championing arts, education, suffrage, and equal opportunity laid stirring up dust in the clouds until 1911 when Colorado State Normal School opened its doors to educate the next teachers of world to spread from the headwaters of the Western Slope.
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Denver Directory, page 227. 1896. Ancestory.com.
Illustrated catalogue of Wadsworth, Howland & Co.: Importers and Dealers In Artists' Supplies And Architects' And Drafting Materials, Wadsworth, Howland & Co., Boston, Massachusetts, 1885.
Illustrated catalogue of Wadsworth, Howland & Co.: Importers and Dealers In Artists' Supplies And Architects' And Drafting Materials, Wadsworth, Howland & Co., Boston, Massachusetts, 1885.
Historic Newspaper Databases used:
California Digital Newspaper Collection
Chronicling America: Historic American Newspapers – Library of Congress
Colorado Historic Newspapers
Leominster Public Library
Plains to Peak Historic Newspapers
Newspapers.com
Utah Digital Newspapers
Wyoming Digital Newspaper Collection
[1] Gunnison Review-Press, October 16, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861016-01.2.46&srpos=14&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22county+fair%22----1886---0----Gunnison+%28CO%29--
[2] “Advertisements Column 1”, Gunnison Review-Press, November 2, 1886, Colorado Historic Newspapers Collection, Page 4. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18861102-01.2.12.1&srpos=31&dliv=none&e=-----1980--en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22state+bridge%22----1886---0------
[3] “Republican Senatorial Ticket.” Gunnison Review-Press October 1, 1886. Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861001-01.2.5&srpos=19&dliv=none&e=-08-1886--11-1886--en-20-GNP-1-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+Fair%22----1886---0----Gunnison+%28CO%29--
[4] Gunnison Review-Press, June 19, 1886, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18860619-01.2.27&srpos=1&e=-----1886--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22gunnison+fair%22-------0------
[5] “State Items,” Rosita Index, October 7, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=RIN18861007.2.16&srpos=11&dliv=none&e=-10-1886--11-1886--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22----1886---0------
[6] The Aspen Daily Times. October 12, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=ADT18861012.2.8&srpos=18&e=-10-1886--11-1886--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22----1886---0------
[7] Gunnison Review-Press, October 12, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861012-01.2.6&srpos=19&e=-10-1886--11-1886--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22----1886---0------
[8] The Rocky Mountain News, Denver, Colorado, October 15, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=RMD18861015-01.2.9&srpos=23&dliv=none&e=-10-1886--11-1886--en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22----1886---0------
[9] Gunnison Review-Press, October 16, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861016-01.2.46&srpos=14&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22county+fair%22----1886---0----Gunnison+%28CO%29--
[10] Gunnison Review-Press, July 23, 1887. Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18870723-01.2.16&srpos=42&e=-10-1886--11-1887--en-20--41-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22-------0------
[11] “Exposition And Excursion Notes”, Gunnison Review-Press September 6, 1887, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18870906-01.2.3&srpos=44&dliv=none&e=-10-1886--11-1887--en-20--41-byDA-img-txIN%7ctxCO%7ctxTA-%22Gunnison+fair%22-------0------
[12] Salt Lake Evening Democrat, April 30, 1887, Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn85058117/1887-04-30/ed-1/seq-6/#date1=1850&index=0&rows=20&words=MISS+MONROE+studio&searchType=basic&sequence=0&state=Utah&date2=1900&proxtext=miss+monroe+studio&y=24&x=9&dateFilterType=yearRange&page=1
[13] Gunnison Review-Press, August 21, 1886, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18860821-01.2.28&srpos=9&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22Miss+Monroe%22-------0-Gunnison-----
[14] John L. Puckett, “Gender and Race at the Centennial Exposition”, West Philadelphia Collaborative History, https://collaborativehistory.gse.upenn.edu/stories/gender-and-race-centennial-exposition
[15] Clara Treadway Weir, quoted in History of Fifty Years Ladies Literary Club, Salt Lake City, Utah 1877-1927, Katherine Barrette Parsons. Arrow Press Inc. 1927. Pg 65
[16] Duane Vandenbusche, Early Days in the Gunnison Country. Drawings by Jan Sitts. 1974, Centennial edition. B & B Printers: Gunnison.
[17] The Gunnison Review, May 29, 1880, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNR18800529-01.2.2&e=--1880---1894--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-hartman+cabin-------0--Gunnison----.
[18] Duane Vandenbusche, Early Days in the Gunnison Country. Drawings by Jan Sitts. 1974, Centennial edition. B & B Printers: Gunnison.
[19] The Gunnison Review, May 29, 1880, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNR18800529-01.2.2&e=--1880---1894--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-hartman+cabin-------0--Gunnison----.
[20] Betty Wallace, Gunnison Country. Sage Books: Denver. 1960.
[21] Betty Wallace, Gunnison, a Short, Illustrated History. Sage Books: Denver.1964.
[22] The Gunnison News, July 24, 1880, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=GNN18800724-01.2.22&srpos=4&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22postoffice%22+hartman+new-------0-Gunnison-----
[23] The Free Press, January 25, 1882, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=FRP18820125-01.2.9&srpos=7&e=25-01-1882-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22hartman%22+----1882---0-Gunnison-----
[24] The Gunnison Daily News-Democrat, January 25, 1882, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=GDD18820125-01.2.11&srpos=1&e=25-01-1882-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22hartman%22+----1882---0-Gunnison-----
[25] Judy Buffington Sammons, Dos Rios Memories, Gunnison, CO: Raspberry Creek Books, 2013.
[26] Gunnison Review-Press, May 19, 1883, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18830519-01.2.17.1&srpos=1&e=25-01-1882-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22hartman+homestead%22+-------0-Gunnison-----
[27] CO Gunnison Property Record Card for R010921. https://property.spatialest.com/co/gunnison#/property/R010921
[28] Judy Buffington Sammons, Dos Rios Memories, Gunnison, CO: Raspberry Creek Books, 2013.
[29] The Gunnison Tribune, October 7, 1893, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNT18931007-01.2.16&srpos=44&dliv=none&e=--1892---1894--en-20--41-byDA-img-txIN%7ctxCO%7ctxTA-hartman----1893---0--Gunnison---- .
[30] The Gunnison Tribune, December 2, 1893, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNT18931202-01.2.11&srpos=12&e=-10-1893--12-1893--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-hartman-------0-Gunnison-----
[31] The Gunnison Tribune, February 3, 1894, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNT18940203-01.2.14&srpos=5&dliv=none&e=--1892---1894--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-hartman----1894---0--Gunnison----
[32] CO Gunnison Property Record Card for R010921) https://property.spatialest.com/co/gunnison#/property/R010921
[33] The Gunnison Tribune, December 30, 1898, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNT18981230-01.2.30&srpos=5&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22monday+afternoon+club%22+hartman-------0-Gunnison-----
[34] “Hartman Castle Preservation”, Hartman Castle Preservation Corp., 2023. https://hartmancastle.org/
[35] Archaeological evidence from research at the Tenderfoot / W Mountain / Mountaineer site indicate periods of occupation on and around the mountains overlooking the convergence plain of the Gunnison River and Tomichi Creek. Research (Stiger 2001) indicates the construction of shelters, some with debitage from stone tool manufacturing and periods of varying seasonal uses. Considering stone tools have been found in burials across Colorado, stone tools manufactured from stone found around Gunnison and beyond could have held intrinsic values comparable to our modern understandings of art appreciation and collection. Moreover, collections of archaeological artifacts, especially stone and metal points, have a history of being artistically reinterpreted in display cases and exhibitions. Additionally, Tenderfoot Mountain was co-named W Mountain in the 1930’s after the college installed their “W” logo on the hill side facing the town, covering its fabled “Indian Head effigy”. The “W” is painted and burned every fall for the y’s celebration of Western’s homecoming. The “Indian Head effigy” was memorialized in the 1890’s when an artist painted the scene for a porcelain plate with the mountain and apparent effigy labeled. South Main Street is an artist collective in Gunnison associated with Amanda Sage and Joe Bob Marrit.
[36] “History of Art in CB”, OhBeJoyful Gallery, November 15, 2018, https://www.ohbejoyfulgallery.com/category/history-of-art-in-cb/
[37] Crested Butte Mountain Heritage Museum, “History of Art in the Gunnison Area with Dr. Jeffrey Taylor.” December 8, 2024. https://www.youtube.com/watch?v=FNsDHhnNtIc&t=1s
[38] Ila McAfee, Indians, Horses Hills, Et. Cetera, First Edition, 1981. Pg 137.
[39] Gail Richter Jacobs. The Art of Henry Leopold Richter and Catherine Moore Richter. https://www.hlrsr.org/
[40] Ila McAfee, Indians, Horses Hills, Et. Cetera, First Edition, 1981. Pgs. 4, 137.
[41] “Student Makes Pretty Window”, The Greeley Tribune, March 7, 1912, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=TGT19120307-01.2.119&srpos=13&dliv=none&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22elmer+turner%22-------0-Weld-----
[42] “Guggenheim Hall fire, 1951”, UNC Digital Archives. https://digarch.unco.edu/guggenheim-hall-fire-1951-6#:~:text=Search%20terms.%20Select%20Collection
[43] Ila McAfee, Indians, Horses Hills, Et. Cetera, First Edition, 1981. Pgs. 4, 137.
[44] Top O' The World – WCU, November 1, 1938, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=TOW19381101-01.2.20&srpos=2&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22ila+Mcafee%22----1938---0------
[45] Top O' The World – WCU, November 16, 1934, Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=TOW19341116-01.2.28&srpos=16&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22ila+Mcafee%22-------0------
[46] Top O' The World – WCU, May 3, 1940, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=TOW19400503-01.2.40&srpos=26&e=-------en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22ila+Mcafee%22-------0------
[47] Ila McAfee, Indians, Horses Hills, Et. Cetera, First Edition, 1981. Pgs. 114-115
[48] The Greeley Tribune March 7, 1912. Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=TGT19120307-01.2.119&srpos=13&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22elmer+turner%22-------0-Weld-----
[49] Miss Monroe lived in Cheyenne and exhibited art there in an exhibition that included several noted artists from Greeley. The Turner family moved from Wyoming as well when Elmer was a child, however, no connections between them are known. However, Elmer and Miss Monroe exhibited with the same artist from Greeley, but in different fairs and time.
[50] Cloe Medrano, “From the Vault”, Roswell Daily Record, May 5, 2024https://www.rdrnews.com/arts_and_entertainment/vision/from-the-vault/article_e31e32b4-08e1-11ef-9a19-b3e9d6c31430.html
[51] Gunnison Review-Press September 20, 1886 — Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18860920-01.2.11&srpos=6&e=-----1980--en-20--1--img-txIN%7ctxCO%7ctxTA-%22miss+l+monroe%22-------0------
[52] State of Wyoming: Bureau of Vital Statistics, “Certificate of Death,” December 20, 1909. File No. 1909, Registered no. 523.
[53] Nineteenth Annual Catalog of the Burlington Female Seminary 1854-55. Stacey & Jameson: Burlington, 1855, page 6
[54] Twenty-First Annual Catalog of the Burlington Female Seminary 1856-57. Chauncey Goodrich & Co: Burlington, 1857. Page 26.
[55] Abolitionist, Underground Network to Freedom, Suffragist in Leominster, Mass. Forms Equal Rights Club with Miss Monroe.
[56] Woman's Journal. 1871. Schlesinger Library, Radcliffe Institute, Harvard University, Cambridge, Mass https://iiif.lib.harvard.edu/manifests/view/drs:48852546$187i
[57] Leominster Enterprise, Leominster, Massachusetts, June 9th, 1875. https://leominster.advantage-preservation.com/viewer/?k=%22miss%20s%20l%20monroe%22&i=f&d=01011873-12311888&m=between&ord=k1&fn=leominster_enterprise_usa_massachusetts_leominster_18750609_english_2&df=1&dt=1
[58] Leominster Enterprise, Page 2, Leominster, Massachusetts, June 23rd, 1875. https://leominster.advantage-preservation.com/viewer/?k=%22equal%20rights%20club%22&i=f&d=01011873-12311988&m=between&ord=k1&fn=leominster_enterprise_usa_massachusetts_leominster_18750623_english_2&df=1&dt=10
[59] Leominster Enterprise, Page 3, published in Leominster, Massachusetts, January 19th, 1876. https://leominster.advantage-preservation.com/viewer/?k=%22equal%20rights%20club%22&i=f&d=01011873-12311988&m=between&ord=k1&fn=leominster_enterprise_usa_massachusetts_leominster_18760119_english_3&df=1&dt=10
[60] Leominster Enterprise, Page 3, Leominster, Massachusetts, June 28th, 1876. https://leominster.advantage-preservation.com/viewer/?k=%22mrs%20f%20h%20drake%22&i=f&d=01011873-12311988&m=between&ord=k1&fn=leominster_enterprise_usa_massachusetts_leominster_18760628_english_3&df=1&dt=6
[61] “The Drake House,” Leominster Historical Society, https://leominsterhistory.org/the-drake-house/
[62] Leominster Enterprise, Page 3, Leominster, Massachusetts, September 6th, 1876. https://leominster.advantage-preservation.com/viewer/?k=%22equal%20rights%20club%22&i=f&d=01011873-12311988&m=between&ord=k1&fn=leominster_enterprise_usa_massachusetts_leominster_18760906_english_3&df=21&dt=23
[63] Woman's Journal. 1877. Schlesinger Library, Radcliffe Institute, Harvard University, Cambridge, Mass.https://iiif.lib.harvard.edu/manifests/view/drs:48859471$50i
[64] Deaths Registered in the City of Fitchburg. 1880.
[65] Deaths Registered in the City of Fitchburg. 1880.
[66] “Sophia Gibson Warren (1800-1880)” - Find a Grave Memorial https://www.findagrave.com/memorial/142238359/sophia-warren
[67] Harriet H. Robinson, “Massachusetts in the woman suffrage movement. A general, political, legal, and legislative history from 1774, to 1881”, National American Woman Suffrage Association, https://tile.loc.gov/storage-services/service/rbc/rbnawsa/n8049/n8049.pdf
[68] “Excursions,” Fitchburg Sentinel, page 3, May 27, 1880, Newspapers.com.
[69] Salt Lake evening Democrat, Salt Lake City, Utah, April 30, 1887. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn85058117/1887-04-30/ed-1/seq-6/#date1=1850&index=0&rows=20&words=MISS+MONROE+studio&searchType=basic&sequence=0&state=Utah&date2=1900&proxtext=miss+monroe+studio&y=24&x=9&dateFilterType=yearRange&page=1
[70] “A Good Attendance,” Salt Lake Herald-Republican, 1896-09-18, Page 6, Utah Digital Newspapers. “A Good Attendance,”
[71] “Republican Meetings” Salt Lake Tribune, October 20, 1896, page 8. Newspapers.com
[72] The Rocky Mountain News, May 29, 1898, Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=RMD18980529-01.2.236&srpos=1&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22Miss+s+l+monroe%22-------0------
[73] The Salt Lake Herald, Salt Lake City, Utah, May 03, 1899. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn85058130/1899-05-03/ed-1/seq-8/
[74] The Salt Lake Herald, Salt Lake City, Utah, 24 Jan. 1897. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn85058130/1897-01-24/ed-1/seq-13/
[75] “Address,” The Woman’s Exponent. December 1897. Page 6. Newspapers.com
[76] The Salt Lake Herald, Salt Lake City, Utah, 16 December 16, 1900. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn85058130/1900-12-16/ed-1/seq-10/
[77] “Miss S. L. Monroe,” The Review, May 27, 1898. Newspapers.com
[78] “Utah Women’s Free Press Club.” Women’s Exponent, February 1, 1902. Newspapers.com.
[79] “Miss S. L. Monroe,” The Salt Lake Tribune, January 16, 1903. Page 1. Newspapers.com
[80] Wyoming Tribune (Cheyenne) December 20, 1909 — Wyoming Digital Newspaper Collection. https://wyomingnewspapers.org/?a=d&d=WYWTB19091220-01.1.6&srpos=1&e=-------en-20-WYWTB-1--img-txIN%7ctxCO%7ctxTA-%22Miss+Monroe+Dead%22-------0------
[81] State of Wyoming: Bureau of Vital Statistics, “Certificate of Death,” December 20, 1909.
[82] Sophia L Monroe (1831-1909). Find a Grave Memorial https://www.findagrave.com/memorial/29167678/sophia-l-monroe
[83] 1882-1891 Mr. R. I. Towle of Salt Lake City took over the freighting business of Mclure and then operated the Sapinero Hotel for a few years before it and all its contents went up for a sheriff’s auction.
[84] Mr. R. I. Towle operated a produce and freight business between Gunnison, Colorado and Salt Lake City, Utah with McClure then operated the Sapeniro Hotel when the Lake City cut off of the D&RG was installed.
[85] “Local Matters”, Gunnison Review-Press, November 15, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861115-01.2.9&e=-------en-20-GNP-1--img-txIN%7ctxCO%7ctxTA-+November+15%2c+1886-------0------
[86] Gunnison Review-Press, October 6, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18861006-01.2.12&srpos=12&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22mrs+olney%22-------0----Gunnison+%28CO%29--
[87] Gunnison Review-Press, August 28, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18830828-01.2.2&srpos=2&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22miss+m+e+craig%22-------0------
[88] “The Social World. Feminine Minds Busy Over Fall Finery. The Social Events of Last Week Discussed. Children's Parties and Other Happy Affairs. Gossip From Many Towns Besides the Queen City”, The Rocky Mountain News (Daily) September 23, 1883, Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=RMD18830923-01.2.144.34&srpos=3&dliv=none&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22miss+craig%22+----1883---0-Denver-----
[89] “A Brief Visit to Miss Craig’s Studio, on Georgia Avenue”, Gunnison Review-Press, October 19, 1883, Colorado Historic Newspapers Collection, https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18831019-01.2.11&srpos=35&dliv=none&e=-------en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22miss+m+e+craig%22-------0------
[90] “Local Matters”, Gunnison Review-Press August 15, 1883 — Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18830815-01.2.10&srpos=1&dliv=none&e=--1875-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22miss+m+e++craig%22-------0------
[91] Gunnison Review-Press April 30, 1884, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18840430-01.2.31&srpos=20&e=--1875-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22a+b+Johnson%22----1884---0----Gunnison+%28CO%29--
[92] “Matters About Home”, Gunnison Review-Press December 13, 1884, Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18841213-01.2.30&srpos=9&dliv=none&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22m+e+craig%22++----1884---0------
[93] Gunnison Review-Press, April 22, 1885, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18850422-01.2.1&srpos=7&e=--1875-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22a+b+Johnson%22----1885---0----Gunnison+%28CO%29--
[94] Gunnison Review-Press, May 23, 1885, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18850523-01.2.26&srpos=140&e=-------en-20--121--img-txIN%7ctxCO%7ctxTA-%22Mrs+a+b+Johnson%22-------0------
[95] The Sun, October 13, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=SUN18831013-01.2.62&srpos=1&e=-----1920--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22judge+craig%22-------0-Gunnison-----
[96] The Rocky Mountain News, November 10, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=RMD18831110-01.2.43&srpos=3&e=-----1886--en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Judge+craig%22+----1883---0------
[97] “The American Eagle”, The Castle Rock Journal, June 14, 1882, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=CRJ18820614.2.11&srpos=33&dliv=none&e=--1875-----en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22A+B+Johnson%22-------0-----Castle+Rock+%28CO%29-
[98] “Mrs. M. A. Craig”, The Castle Rock Journal, March 28, 1902, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=CRJ19020328.2.3&srpos=13&dliv=none&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22mrs+craig%22++-------0--Castle+Rock----
[99] “More Palaver”, Pitkin Independent August 27, 1881, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=PTI18810827-01.2.17&srpos=1&dliv=none&e=--1875-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22a+b+Johnson%22-------0----Gunnison+%28CO%29--
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[102] “Fraud!”, Gunnison Review-Press, November 5, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18831105-01.2.2&srpos=5&dliv=none&e=-----1980--en-20--1--img-txIN%7ctxCO%7ctxTA-election----1883---0-Gunnison-----
[103] “Absorbing Questions”, The Sun, January 19, 1884, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=SUN18840119-01.2.31&srpos=1&dliv=none&e=--1875-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22a+b+Johnson%22----1884---0----Gunnison+%28CO%29--
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[105] Twelfth Census of the United States. June 1900 Grand Junction, Mesa, Colorado, Schedule No. 1 Population, 11 precinct, Nancy E Terry.
[106] “Matters About Home”, Gunnison Review-Press, December 13, 1884, Colorado Historic Newspapers Collection https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18841213-01.2.30&srpos=9&dliv=none&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22m+e+craig%22++----1884---0------
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[112] “Our State Papers”, The Castle Rock Journal, March 17, 1886, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=CRJ18860317.2.12&srpos=39&dliv=none&e=--1875-----en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22A+B+Johnson%22-------0-----Castle+Rock+%28CO%29-
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[114] Our Christian Festival, Grand Valley Star, December 31, 1892, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GVS18921231-01.2.77&srpos=5&dliv=none&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Mr.+a+b+johnson%22-------0----Mesa+%28CO%29--
[115] “Many Millions in Fruit”, The Rocky Mountain News, January 21, 1897, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=RMD18970121-01.2.196&srpos=1&e=07-04-1873-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22A+b+johnson%22----1897---0------
[116] “Men And Things”, Field and Farm, April 3, 1897, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=FAF18970403-01.2.15&srpos=26&dliv=none&e=07-04-1873-----en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22A+b+johnson%22----1897---0------
[117] “Greenland”, The Castle Rock Journal, May 18, 1900, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=CRJ19000518.2.14&srpos=9&dliv=none&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22mrs+craig%22++-------0--Castle+Rock----
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[119] The Cablenews-American 12-14-1909, Southeast Asian Newspapers. https://gpa.eastview.com/crl/sean/?a=d&d=cana19091214-01.1.5&srpos=7&e=-------en-25--1--img-txIN-%22a+b+Johnson%22---------
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[121] “Unknown”, The Castle Rock Journal, April 4, 1902, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=CRJ19020404.2.2&srpos=6&dliv=none&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22Mrs+a+b+Johnson%22-------0------
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[124] “Montrose Fair a Success”, The Montrose Press, September 22, 1905, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=MTP19050922-01.2.2&srpos=92&dliv=none&e=-------en-20--81-byDA-img-txIN%7ctxCO%7ctxTA-%22dr+carl+johnson%22-------0------
[125] “A.B. Johnson, Pioneer of City, is Dead,” The Daily Sentinel, June 29, 1934, Newspapers.com.
[126] Enterprise, (Riverside), February 7, 1922, California Digital Newspaper Collection. https://cdnc.ucr.edu/?a=d&d=MPE19220207.2.20&srpos=12&e=------192-en--20--1--txt-txIN-%22burlingame+Johnson%22-------
[127] “Local News”, The Palisade Tribune, September 1, 1916, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=PLT19160901-01.2.18&srpos=114&dliv=none&e=-------en-20--101--img-txIN%7ctxCO%7ctxTA-%22Mrs+a+b+Johnson%22-------0------
[128] Imperial Valley Press, El Centro, California, February 2, 1923, Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92070146/1923-02-02/ed-1/seq-1/
[129] Imperial Valley Press, El Centro, California, April 16, 1925, Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn92070146/1925-04-16/ed-1/seq-1/.
[130] “Death Claims Mary Johnson.” The Los Angeles Times, Page 18 June 22,1932. Newspapers.com.
[131] “A.B. Johnson, Pioneer of City, is Dead,” The Daily Sentinel, June 29, 1934, Newspapers.com.
[132] Anson Burlingame Johnson, Hand Book Of A Collection Of Chinese Porcelains Loaned By A. Burlingame Johnson, On Exhibition In The Los Angeles Museum Of History, Science And Art, Los Angeles Museum of History, Science, and Art: Los Angeles, California, 1923. https://archive.org/details/calanhm_000474/page/58/mode/2up.
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[152] Sketches of the Inter-Mountain States, Utah, Idaho and Nevada, The Salt Lake Tribune, Salt Lake City, Utah, 1909. Pg 81.
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[159] Wyoming Tribune, (Cheyenne), April 20, 1916, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=WYWTB19160420-01.1.8&srpos=2&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-clara+treadway+weir----1916---0------
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[161] Carrie Prudence Winter, An American Girl in Hawaii: Letters of Carrie Prudence Winter 1890-1893, Edited by Sandra Bonura and Deborah Day, University of Hawaii Press, Honolulu, 2012. Kindle edition.
[162] Silver World, May 3, 1879, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=SWO18790503-01.2.24&srpos=1&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22mrs+Olney%22-------0-----Lake+City+%28CO%29-
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[169] Gunnison Review-Press, August 11, 1888, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18880811-01.2.31&srpos=21&e=-------en-20--21--img-txIN%7ctxCO%7ctxTA-%22mrs+olney%22-------0----Gunnison+%28CO%29--
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[171]“Joint Resolution to Provide for Annexing the Hawaiian Islands to the United States (1898)”, National Archives. https://www.archives.gov/milestone-documents/joint-resolution-for-annexing-the-hawaiian-islands
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[173] The Montrose Press March 14, 1919 — Plains to Peaks Historic Newspapers (ppc-historicnewspapers.org) https://www.ppc-historicnewspapers.org/?a=d&d=MTP19190314-01.2.13&srpos=4&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22doc+Shores%22-------0------
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[181] “Local Matters”, Gunnison Review-Press, June 16, 1885, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNP18850616-01.2.10&srpos=142&dliv=none&e=-------en-20--141-byDA-img-txIN%7ctxCO%7ctxTA-%22mrs+h+l+davis%22-------0------
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[183] The Gunnison Tribune, April 2, 1892, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=GNT18920402-01.2.15.2&srpos=114&e=-------en-20--101-byDA-img-txIN%7ctxCO%7ctxTA-%22r+i+towle%22-------0------
[184] The Silver Blade, Rathdrum, Idaho, February 15, 1896. Chronicling America: Historic American Newspapers. Library of Congress. https://chroniclingamerica.loc.gov/lccn/sn88056092/1896-02-15/ed-1/seq-6/
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[193] The Barton County Democrat, Great Bend, Kansas. January 12, 1893. Page 8. Newspapers.com.
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[203] The Cheyenne Daily Leader, page 4, June 28, 1882. Newspapers.com.
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[212] Cheyenne Weekly Leader February 26, 1880, Plains to Peaks Historic Newspapers (ppc-historicnewspapers.org) https://www.ppc-historicnewspapers.org/?a=d&d=WYCWL18800226-01.1.5&srpos=15&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22mr+annett%22-------0------
[213] “Telegraph Builder Locates in Idaho Man Who Strung Wires from Cheyenne to Denver Finds New Home”, The Weekly Courier December 23, 1908, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=TWC19081223.2.135&srpos=1&dliv=none&e=-------en-20--1--img-txIN%7ctxCO%7ctxTA-%22mr+annett%22-------0------
[214] Cheyenne Daily Leader, March 5, 1882, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=WYCDL18820305-01.1.4&srpos=23&e=-------en-20--21-byDA-img-txIN%7ctxCO%7ctxTA-%22mr+annett%22-------0------
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[217] Mary Ellen Snodgrass, Frontier Women and Their Art, 2018. Pgs.193-194.
[218] The Colorado Daily Chieftain, December 2, 1883, Plains to Peaks Historic Newspapers. https://www.ppc-historicnewspapers.org/?a=d&d=CFT18831202-01.2.11&srpos=1&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22Lilly+hartman%22-------0------
[219] James Alexander Semple, Representative Women Of Colorado; A Pictorial Collection Of The Women Of Colorado Who Have Attained Prominence In The Social, Political, Professional, Pioneer And Club Life Of The State. The Alexander Art Publishing Company: Denver, Colorado, 1914, Hathi Trust Digital Library, pg. 54. https://babel.hathitrust.org/cgi/pt?id=nyp.33433075966600&seq=70
[220] “Montezuma Valley National Bank & Store, National Register of Historic Places nomination 5MT.19093”. United States Department of the Interior, National Park Service. historycolorado.org. https://www.historycolorado.org/sites/default/files/media/documents/2018/5mt19093.pdf
[221] Mary Ellen Snodgrass, Frontier Women and Their Art: A Chronological Encyclopedia, Rowman & Littlefield, Maryland, 2018. Pgs. 116-117.
[222] “Caught!”, The Gunnison Daily Review, July 13, 1882, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GDR18820713-01.2.5&srpos=1&dliv=none&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-chipeta+page+in+history-------0------.
[223] Gunnison Review-Press, October 3, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18831003-01.2.15&srpos=59&e=-------en-20--41-byDA-img-txIN%7ctxCO%7ctxTA-%22miss+field%22-------0------
[224] The Sun, October 6, 1883, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=SUN18831006-01.2.2&srpos=60&e=-------en-20--41-byDA-img-txIN%7ctxCO%7ctxTA-%22miss+field%22-------0------
[225] Gunnison Review-Press, January 17, 1885, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18850117-01.2.8&srpos=3&e=-------en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-%22normal+school%22----1885---0-Gunnison-----
[226] Gunnison Review-Press, December 13, 1884, Colorado Historic Newspapers Collection. https://www.coloradohistoricnewspapers.org/?a=d&d=GNP18841213-01.2.30&srpos=15&e=07-04-1859-----en-20--1-byDA-img-txIN%7ctxCO%7ctxTA-colored+baker----1884---0-Gunnison-----
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