Post by TRK on Apr 30, 2007 20:16:41 GMT -5
The following is a condensed (but still longish) version of an essay I wrote for the book I co-wrote with the late Peter E. Palmquist, Pioneer Photographers from the Mississippi to the Continental Divide: A Biographical Dictionary, 1839-1865 (Stanford, Calif.: Stanford University Press, 2005). Please bear with it; although the Alamo stuff comes early in the piece, the subject of the piece was a real scamp! Note: Superscripts for source notes appear within brackets (e.g., [1])
-Tom Kailbourn
The earliest known photograph of the Alamo is a daguerreotype dated 1849, but one year before an unknown cameraman took that view, an identified itinerant daguerreotypist visiting in Bexar, Robert Payne Kelley, advertised photographic views of the Alamo and other landmarks in the area. Kelley was a wide-ranging daguerreotypist whose travels in the late 1840s and early 1850s took him over a wide area from the Mississippi River and its tributaries to the Texas frontier. He is one of the few daguerreotypists of that region whose travels can be documented to a high degree of thoroughness.
Kelley’s origins are obscure. Conflicting accounts state that he was of Irish birth or extraction, or a native of Kentucky or Virginia. He is said to have had early ties to Louisville, Kentucky. By late 1848 he had learned the daguerreian art and established the earliest known gallery in San Antonio, still commonly known at that time as Bexar. In the following advertisement of Kelley dated December 8, 1848, we can see the genesis of tourism photography in that historic community:
"Daguerrean Gallery. (In the 2nd story of the New Masonic Hall.) R. P. Kelley will remain a short time in this city for the purpose of taking Daguerreotype portraits, and respectfully solicits the patronage of the citizens and visitors of Bexar. The artist feels assured that he can give entire satisfaction to all who may favor him with a visit. Fine pictures taken regardless of the weather.
"N.B. Photographic sketches of the Alamo, Missions, and Catholic Cathedral [1] put up in a suitable manner to be sent to any part of the United States by mail, for sale at the Daguerrean Rooms." [2]
It isn’t clear why Kelley chose to visit San Antonio. He is not known to have pursued photography at this early date elsewhere in Texas. It is possible, though not certain, that he had seen military service in Texas the previous decade. An R. P. Kelley was a private in Alonzo B. Sweitzer’s Company of Cincinnati Volunteers, 3rd Regiment of Volunteers, Texas Army, a company that was enlisted from May 18, 1836, to at least August 19 of that year. The full name of this person remains to be confirmed. [3]
Sometime after December 1848, Kelley shifted his operations from the interior of Texas to the Mississippi River towns of northeastern Missouri. A scrapbook he kept containing his newspaper advertisements and notices includes an ad from the Hannibal Missouri Courier inscribed March 14—no year given—for Weed and Kelly, daguerreian artists, in Commercial Row, Hannibal. These notices, which appear in the Kelley scrapbook on the same page as, and just after, his 1848 San Antonio ad, must postdate September 1848, when the Hannibal Missouri Courier was founded. The same page in the scrapbook also has an undated clipping from the Palmyra (Missouri) Whig for “Mr. R. P. Kelley, Daguerrean Artist,” who was in Palmyra for “a short time.” It is reasonable to infer that Kelley visited Hannibal and Palmyra in early 1850 on a transit up the Mississippi River. By June 13 of the same year Kelley had arrived in Canton, Missouri, where he established a gallery at the Canton House. He warranted his “improved daguerreotypes” not to fade—a refinement that he stressed repeatedly in his advertisements in the early 1850s. [4]
In June and July 1850, Kelley had temporary daguerreian rooms in Keokuk, Iowa, By this date he was stressing several themes in his press notices that would endure through the next several years. He customarily exhibited specimens taken in the town in which he currently was doing business, and invited the public to view the specimens, whether or not they intended to have their portraits taken—always a good ploy to lure in potential customers. He frequently made reference to his “inimitable daguerreotypes” and almost always cautioned that his stay would be “short” because of “engagements elsewhere.” [5]
By late July 1850, Kelley had quit the Mississippi River Valley and was making his way west up the valley of the Des Moines River, far into Iowa. He operated in Fairfield, Oskaloosa, and Fort Des Moines (now Des Moines) before returning down the Des Moines River, including a visit to Ottumwa. By spring 1851 he had begun a tour of the interior of Missouri, including a return trip to Palmyra. [6]
It was probably around June 1851 that Kelley played an unwitting role in apprehending a felon. While operating a studio in Columbia, Missouri, he took a daguerreotype portrait of a customer who wished to pose with his boot in his hand. Perhaps because of the eccentricity of the posing, Kelley exhibited the specimen in the next town he visited. A customer recognized the subject as a certain Harbaugh, a horse thief and fugitive from justice who went under the guise of a preacher. The local sheriff immediately telegraphed a warrant for Harbaugh’s arrest to the authorities in Boonville, who soon arrested the rogue. This incident, which presaged police use of instantaneous communications and mug shots, prompted one newspaper editor to reflect, “Telegraphs alone ought to be a terror to fugitives—but telegraphs combined with daguerreotypes are awful.” [7]
Over the next several months, Kelley daguerreotyped in Lexington, Paris, Canton, and La Grange. Following a three-month gap in the known record of Kelley’s itinerary, he arrived in Cape Girardeau, Missouri, in mid-February with a new partner, Thomas Hart.
It was probably not long after February 1852 that Kelley returned to San Antonio. Kelley’s scrapbook includes an undated handbill which constituted, in effect, a generic advertisement for “Thos. Hart and R. P. Kelley, American Daguerrean Gallery.” Under that heading is a space where the name of a town could be printed. In this particular specimen, “San Antonio” has been printed in a different type style than the rest of the ad. It is not clear if Thomas Hart ever came to San Antonio with Kelley; more likely, Kelley may have been using up his stock of Hart and Kelley handbills, because when ads for the American Daguerrean Gallery began appearing in the San Antonio Western Texan on November 4, 1852, Kelley was listed as the sole proprietor. The studio was located on the second floor of Jones’s Building, southeast corner of Main Plaza. Kelley continued to advertise at the same address in the Ledger until at least December 30, 1852.
An advertisement clipping in the Kelley scrapbook dated May 18, 1853, from an unidentified newspaper—possibly the Austin Texas State Gazette—signaled his move to the capital of Texas: “R. P. Kelly [sic] desires to inform the citizens of Austin and vicinity, that he has opened his daguerreotype rooms, at the Episcopal Church, on Congress Avenue, where he is prepared to execute in a superior style Daguerreotype portraits.” In another ad in the Texas State Gazette of June 4, 1853, Kelley clarified his location as the “rooms formerly occupied by the Episcopal Church.” Kelley advertised in the Texas State Gazette of June 11, 1853, that he would be “positively” closing his rooms on Monday, June 18, “engagements elsewhere requiring him to leave.” [8]
Kelley returned to San Antonio before August 31, 1853, and opened a studio in the upper story of Fischer’s Jewelry Store. By mid-November he was back in Austin, in partnership with two brothers, Robert William Peirce and John K. Peirce, Jr., who had recently operated the Pierce and Brother daguerreian studio in Austin. Under the name “R. W. Pierce [sic], R. P. Kelly & J. K. Pierce, Jr. [sic],” they conducted a gallery over Morris’s Store, Pecan Street. The partners promoted their “Improved Daguerreotypes, Daguerreotype Excelsior!!! Imitation of miniature on Ivory.” They continued to advertise at the same address in Austin until at least January 10, 1854. That date marks the last known work of Robert P. Kelley in the daguerreian profession. [9]
By April 17, 1855, Kelley had returned to San Antonio and was advertising as a surveyor and land agent. In that city on September 4, 1855, he married Mrs. Jane Knapp in the Methodist Episcopal Church. By 1858 he had moved to Mesilla in present-day New Mexico, where he applied his energies toward surveying, retailing, and dubious land dealings. Kelley concocted a land fraud in league with two other Mesilla businessmen, Samuel L. Jones and Lewis S. Owings. They formed a land company that sold stock in Mowry City, Arizona, a tiny settlement on the Rio Mimbres some twenty miles north of present Deming, New Mexico. In 1859, Kelley and his partners published a pamphlet, Report of the Mowry City Association, Territory of Arizona, for 1859. This prospectus painted a rosy picture of Mowry City as the future site of the territorial capital, and grossly misrepresented the area’s resources and prospects. Kelley had his report published in Palmyra, Missouri, the scene of some of his earlier daguerreian work. There, Kelley and his brother-in-law, D. W. Hughes, opened an agency for the Mowry City Association and published a newspaper, the Mesilla Miner, which contained fraudulent articles portraying Mowry City and the Mesilla Valley as a thriving, peaceful region when, in fact, the area was virtually besieged by warring Apaches. Years later, a settler who knew Kelley and his partners in the late 1850s reminisced that they printed their newspaper and prospectus in Missouri because those publications were “not intended for the public eye so near home,” and that the entire promotion was a “swindle.” [10]
Kelley and his confederates evidently made a quick killing with their Mowry City scheme, then moved on to other pursuits. Kelley served as deputy U. S. surveyor for New Mexico Territory, and in October 1860 he co-founded a bona-fide newspaper, the Mesilla Times, which actually was published in Mesilla. Five months later, Kelley was president of the San José Gold Mining Company, which he owned with Lewis S. Owings and D. W. Hughes. [11]
Kelley was firmly pro-Southern, and in early 1861 he played conspicuous roles in a committee of correspondence and the Mesilla secession convention. After the Civil War broke out that spring, Kelley was appointed territorial surveyor for the Confederate Territory of Arizona. By October 1861 he had taken over the editorial duties of the Mesilla Times. In the December 12, 1861, issue, Kelley ridiculed the performance of the governor of the Confederate Territory of Arizona, Lt. Col. John R. Baylor, during a stampede occasioned by the reported approach of Federal troops. (Kelley held a grudge against Baylor that originated when Kelley failed to win a government flour contract, even though he was low bidder.) On the same day that Kelley’s article was published, Baylor accosted him in the street, hittint the editor over the head with a rifle. The two wrestled to the ground; Kelley reached for a knife, and Baylor went for his pistol. Despite the pleas of onlookers that Baylor spare Kelley, the governor put the pistol to Kelley’s face and fired. The bullet went through Kelley’s jaw, exiting through his neck. The wound in the roof of his mouth would not heal and proved mortal. Still, Kelley took over two weeks to die. He found enough energy to write a final editorial attack on Baylor, which appeared under the headline “Cowardly.” On January 1, 1862, Kelley, the first known photographer of the Alamo expired. Baylor was tried for murder, but a grand jury ruled the affair justifiable homicide. [12]
NOTES:
1. By “Catholic Cathedral,” Kelley undoubtedly was referring to the parish church of San Fernando. San Fernando did not become a cathedral until the Diocese of San Antonio was founded in 1874.
2. L. Boyd Finch to David Haynes, May 23, 1994, courtesy David Haynes; Martin Hardwick Hall, “The Mesilla Times: A Journal of Confederate Arizona,” Arizona and the West 5 (Winter 1963): 337; Donald S. Frazier, Blood and Treasure: Confederate Empire in the Southwest (College Station: Texas A&M University Press, 1995), p. 35; L. Boyd Finch, A Southwestern Land Scam: The 1859 Report of the “Mowry City Association” (Tucson: Friends of the University of Arizona Library, 1990), p. 8; unidentified newspaper clipping of Kelley ad datelined “San Antonio, Dec. 8, 1848” (probably from the San Antonio Western Texian), Robert Payne Kelley scrapbook, private collection. Kelley assembled the scrapbook, usually inscribing the title of the newspaper (but not always the name of the city, and seldom the date) over the clippings. We have reconstructed Kelley’s chronology using internal evidence in the clippings and by identifying the places of publication of the newspapers. In several cases we located Kelley’s advertisements in the relevant newspapers, thus confirming the inscriptions in his scrapbook. Thanks go to David Haynes for furnishing a copy of the scrapbook.
3. “Texas General Land Office Muster Rolls,” accessed Feb. 12, 2006, www.mindspring.com/~dmaxey/l/sweiab1l.htm.
4. Kelley scrapbook.
5. Kelley scrapbook.
6. Kelley scrapbook.
7. Undated clipping from unidentified Missouri newspaper, circa June 1851, Robert Payne Kelley scrapbook.
8. Other Kelley ads appeared in the Austin Texas State Gazette on May 21 and 28, 1853.
9. San Antonio Zeitung, Sept. 3, 1853; Austin Texas State Gazette, Nov. 8-22, 1853 (Pierce & Brother ads); ibid., Nov. 22, 29, 1853 (Pierce, Kelley & Pierce ad dated Nov. 18, 1853); Austin Texas State Times, Jan. 3, 10, 1854.
10. San Antonio Herald, Apr. 17, July 23, Sept. 4, Aug. 14, 1855; L. Boyd Finch, Confederate Pathway to the Pacific: Major Sherod Hunter and Arizona Territory, C.S.A. (Tucson: Arizona Historical Society, 1996), p. 44; Finch, Southwestern Land Scam, pp. 5, 8-14, 19-20. The quoted settler who knew Kelley and his partners was Sam Bean, an elder brother of the famed Judge Roy Bean. His account was published in the Silver City (New Mexico) Enterprise, May 22, 1885
11. Finch, Southwestern Land Scam, pp. 14-15; Finch, Confederate Pathway to the Pacific, p. 44; L. Boyd Finch to David Haynes, May 23, 1994, courtesy David Haynes; Frazier, Blood and Treasure, pp. 113-14.
12. Hall, “The Mesilla Times,” pp. 348-50; Finch, Confederate Pathway to the Pacific, pp. 44, 53, 65, 86, 95-96, 101-102, 106, 162, 262 n. 39; Frazier, Blood and Treasure, pp. 113-14.
-Tom Kailbourn
The earliest known photograph of the Alamo is a daguerreotype dated 1849, but one year before an unknown cameraman took that view, an identified itinerant daguerreotypist visiting in Bexar, Robert Payne Kelley, advertised photographic views of the Alamo and other landmarks in the area. Kelley was a wide-ranging daguerreotypist whose travels in the late 1840s and early 1850s took him over a wide area from the Mississippi River and its tributaries to the Texas frontier. He is one of the few daguerreotypists of that region whose travels can be documented to a high degree of thoroughness.
Kelley’s origins are obscure. Conflicting accounts state that he was of Irish birth or extraction, or a native of Kentucky or Virginia. He is said to have had early ties to Louisville, Kentucky. By late 1848 he had learned the daguerreian art and established the earliest known gallery in San Antonio, still commonly known at that time as Bexar. In the following advertisement of Kelley dated December 8, 1848, we can see the genesis of tourism photography in that historic community:
"Daguerrean Gallery. (In the 2nd story of the New Masonic Hall.) R. P. Kelley will remain a short time in this city for the purpose of taking Daguerreotype portraits, and respectfully solicits the patronage of the citizens and visitors of Bexar. The artist feels assured that he can give entire satisfaction to all who may favor him with a visit. Fine pictures taken regardless of the weather.
"N.B. Photographic sketches of the Alamo, Missions, and Catholic Cathedral [1] put up in a suitable manner to be sent to any part of the United States by mail, for sale at the Daguerrean Rooms." [2]
It isn’t clear why Kelley chose to visit San Antonio. He is not known to have pursued photography at this early date elsewhere in Texas. It is possible, though not certain, that he had seen military service in Texas the previous decade. An R. P. Kelley was a private in Alonzo B. Sweitzer’s Company of Cincinnati Volunteers, 3rd Regiment of Volunteers, Texas Army, a company that was enlisted from May 18, 1836, to at least August 19 of that year. The full name of this person remains to be confirmed. [3]
Sometime after December 1848, Kelley shifted his operations from the interior of Texas to the Mississippi River towns of northeastern Missouri. A scrapbook he kept containing his newspaper advertisements and notices includes an ad from the Hannibal Missouri Courier inscribed March 14—no year given—for Weed and Kelly, daguerreian artists, in Commercial Row, Hannibal. These notices, which appear in the Kelley scrapbook on the same page as, and just after, his 1848 San Antonio ad, must postdate September 1848, when the Hannibal Missouri Courier was founded. The same page in the scrapbook also has an undated clipping from the Palmyra (Missouri) Whig for “Mr. R. P. Kelley, Daguerrean Artist,” who was in Palmyra for “a short time.” It is reasonable to infer that Kelley visited Hannibal and Palmyra in early 1850 on a transit up the Mississippi River. By June 13 of the same year Kelley had arrived in Canton, Missouri, where he established a gallery at the Canton House. He warranted his “improved daguerreotypes” not to fade—a refinement that he stressed repeatedly in his advertisements in the early 1850s. [4]
In June and July 1850, Kelley had temporary daguerreian rooms in Keokuk, Iowa, By this date he was stressing several themes in his press notices that would endure through the next several years. He customarily exhibited specimens taken in the town in which he currently was doing business, and invited the public to view the specimens, whether or not they intended to have their portraits taken—always a good ploy to lure in potential customers. He frequently made reference to his “inimitable daguerreotypes” and almost always cautioned that his stay would be “short” because of “engagements elsewhere.” [5]
By late July 1850, Kelley had quit the Mississippi River Valley and was making his way west up the valley of the Des Moines River, far into Iowa. He operated in Fairfield, Oskaloosa, and Fort Des Moines (now Des Moines) before returning down the Des Moines River, including a visit to Ottumwa. By spring 1851 he had begun a tour of the interior of Missouri, including a return trip to Palmyra. [6]
It was probably around June 1851 that Kelley played an unwitting role in apprehending a felon. While operating a studio in Columbia, Missouri, he took a daguerreotype portrait of a customer who wished to pose with his boot in his hand. Perhaps because of the eccentricity of the posing, Kelley exhibited the specimen in the next town he visited. A customer recognized the subject as a certain Harbaugh, a horse thief and fugitive from justice who went under the guise of a preacher. The local sheriff immediately telegraphed a warrant for Harbaugh’s arrest to the authorities in Boonville, who soon arrested the rogue. This incident, which presaged police use of instantaneous communications and mug shots, prompted one newspaper editor to reflect, “Telegraphs alone ought to be a terror to fugitives—but telegraphs combined with daguerreotypes are awful.” [7]
Over the next several months, Kelley daguerreotyped in Lexington, Paris, Canton, and La Grange. Following a three-month gap in the known record of Kelley’s itinerary, he arrived in Cape Girardeau, Missouri, in mid-February with a new partner, Thomas Hart.
It was probably not long after February 1852 that Kelley returned to San Antonio. Kelley’s scrapbook includes an undated handbill which constituted, in effect, a generic advertisement for “Thos. Hart and R. P. Kelley, American Daguerrean Gallery.” Under that heading is a space where the name of a town could be printed. In this particular specimen, “San Antonio” has been printed in a different type style than the rest of the ad. It is not clear if Thomas Hart ever came to San Antonio with Kelley; more likely, Kelley may have been using up his stock of Hart and Kelley handbills, because when ads for the American Daguerrean Gallery began appearing in the San Antonio Western Texan on November 4, 1852, Kelley was listed as the sole proprietor. The studio was located on the second floor of Jones’s Building, southeast corner of Main Plaza. Kelley continued to advertise at the same address in the Ledger until at least December 30, 1852.
An advertisement clipping in the Kelley scrapbook dated May 18, 1853, from an unidentified newspaper—possibly the Austin Texas State Gazette—signaled his move to the capital of Texas: “R. P. Kelly [sic] desires to inform the citizens of Austin and vicinity, that he has opened his daguerreotype rooms, at the Episcopal Church, on Congress Avenue, where he is prepared to execute in a superior style Daguerreotype portraits.” In another ad in the Texas State Gazette of June 4, 1853, Kelley clarified his location as the “rooms formerly occupied by the Episcopal Church.” Kelley advertised in the Texas State Gazette of June 11, 1853, that he would be “positively” closing his rooms on Monday, June 18, “engagements elsewhere requiring him to leave.” [8]
Kelley returned to San Antonio before August 31, 1853, and opened a studio in the upper story of Fischer’s Jewelry Store. By mid-November he was back in Austin, in partnership with two brothers, Robert William Peirce and John K. Peirce, Jr., who had recently operated the Pierce and Brother daguerreian studio in Austin. Under the name “R. W. Pierce [sic], R. P. Kelly & J. K. Pierce, Jr. [sic],” they conducted a gallery over Morris’s Store, Pecan Street. The partners promoted their “Improved Daguerreotypes, Daguerreotype Excelsior!!! Imitation of miniature on Ivory.” They continued to advertise at the same address in Austin until at least January 10, 1854. That date marks the last known work of Robert P. Kelley in the daguerreian profession. [9]
By April 17, 1855, Kelley had returned to San Antonio and was advertising as a surveyor and land agent. In that city on September 4, 1855, he married Mrs. Jane Knapp in the Methodist Episcopal Church. By 1858 he had moved to Mesilla in present-day New Mexico, where he applied his energies toward surveying, retailing, and dubious land dealings. Kelley concocted a land fraud in league with two other Mesilla businessmen, Samuel L. Jones and Lewis S. Owings. They formed a land company that sold stock in Mowry City, Arizona, a tiny settlement on the Rio Mimbres some twenty miles north of present Deming, New Mexico. In 1859, Kelley and his partners published a pamphlet, Report of the Mowry City Association, Territory of Arizona, for 1859. This prospectus painted a rosy picture of Mowry City as the future site of the territorial capital, and grossly misrepresented the area’s resources and prospects. Kelley had his report published in Palmyra, Missouri, the scene of some of his earlier daguerreian work. There, Kelley and his brother-in-law, D. W. Hughes, opened an agency for the Mowry City Association and published a newspaper, the Mesilla Miner, which contained fraudulent articles portraying Mowry City and the Mesilla Valley as a thriving, peaceful region when, in fact, the area was virtually besieged by warring Apaches. Years later, a settler who knew Kelley and his partners in the late 1850s reminisced that they printed their newspaper and prospectus in Missouri because those publications were “not intended for the public eye so near home,” and that the entire promotion was a “swindle.” [10]
Kelley and his confederates evidently made a quick killing with their Mowry City scheme, then moved on to other pursuits. Kelley served as deputy U. S. surveyor for New Mexico Territory, and in October 1860 he co-founded a bona-fide newspaper, the Mesilla Times, which actually was published in Mesilla. Five months later, Kelley was president of the San José Gold Mining Company, which he owned with Lewis S. Owings and D. W. Hughes. [11]
Kelley was firmly pro-Southern, and in early 1861 he played conspicuous roles in a committee of correspondence and the Mesilla secession convention. After the Civil War broke out that spring, Kelley was appointed territorial surveyor for the Confederate Territory of Arizona. By October 1861 he had taken over the editorial duties of the Mesilla Times. In the December 12, 1861, issue, Kelley ridiculed the performance of the governor of the Confederate Territory of Arizona, Lt. Col. John R. Baylor, during a stampede occasioned by the reported approach of Federal troops. (Kelley held a grudge against Baylor that originated when Kelley failed to win a government flour contract, even though he was low bidder.) On the same day that Kelley’s article was published, Baylor accosted him in the street, hittint the editor over the head with a rifle. The two wrestled to the ground; Kelley reached for a knife, and Baylor went for his pistol. Despite the pleas of onlookers that Baylor spare Kelley, the governor put the pistol to Kelley’s face and fired. The bullet went through Kelley’s jaw, exiting through his neck. The wound in the roof of his mouth would not heal and proved mortal. Still, Kelley took over two weeks to die. He found enough energy to write a final editorial attack on Baylor, which appeared under the headline “Cowardly.” On January 1, 1862, Kelley, the first known photographer of the Alamo expired. Baylor was tried for murder, but a grand jury ruled the affair justifiable homicide. [12]
NOTES:
1. By “Catholic Cathedral,” Kelley undoubtedly was referring to the parish church of San Fernando. San Fernando did not become a cathedral until the Diocese of San Antonio was founded in 1874.
2. L. Boyd Finch to David Haynes, May 23, 1994, courtesy David Haynes; Martin Hardwick Hall, “The Mesilla Times: A Journal of Confederate Arizona,” Arizona and the West 5 (Winter 1963): 337; Donald S. Frazier, Blood and Treasure: Confederate Empire in the Southwest (College Station: Texas A&M University Press, 1995), p. 35; L. Boyd Finch, A Southwestern Land Scam: The 1859 Report of the “Mowry City Association” (Tucson: Friends of the University of Arizona Library, 1990), p. 8; unidentified newspaper clipping of Kelley ad datelined “San Antonio, Dec. 8, 1848” (probably from the San Antonio Western Texian), Robert Payne Kelley scrapbook, private collection. Kelley assembled the scrapbook, usually inscribing the title of the newspaper (but not always the name of the city, and seldom the date) over the clippings. We have reconstructed Kelley’s chronology using internal evidence in the clippings and by identifying the places of publication of the newspapers. In several cases we located Kelley’s advertisements in the relevant newspapers, thus confirming the inscriptions in his scrapbook. Thanks go to David Haynes for furnishing a copy of the scrapbook.
3. “Texas General Land Office Muster Rolls,” accessed Feb. 12, 2006, www.mindspring.com/~dmaxey/l/sweiab1l.htm.
4. Kelley scrapbook.
5. Kelley scrapbook.
6. Kelley scrapbook.
7. Undated clipping from unidentified Missouri newspaper, circa June 1851, Robert Payne Kelley scrapbook.
8. Other Kelley ads appeared in the Austin Texas State Gazette on May 21 and 28, 1853.
9. San Antonio Zeitung, Sept. 3, 1853; Austin Texas State Gazette, Nov. 8-22, 1853 (Pierce & Brother ads); ibid., Nov. 22, 29, 1853 (Pierce, Kelley & Pierce ad dated Nov. 18, 1853); Austin Texas State Times, Jan. 3, 10, 1854.
10. San Antonio Herald, Apr. 17, July 23, Sept. 4, Aug. 14, 1855; L. Boyd Finch, Confederate Pathway to the Pacific: Major Sherod Hunter and Arizona Territory, C.S.A. (Tucson: Arizona Historical Society, 1996), p. 44; Finch, Southwestern Land Scam, pp. 5, 8-14, 19-20. The quoted settler who knew Kelley and his partners was Sam Bean, an elder brother of the famed Judge Roy Bean. His account was published in the Silver City (New Mexico) Enterprise, May 22, 1885
11. Finch, Southwestern Land Scam, pp. 14-15; Finch, Confederate Pathway to the Pacific, p. 44; L. Boyd Finch to David Haynes, May 23, 1994, courtesy David Haynes; Frazier, Blood and Treasure, pp. 113-14.
12. Hall, “The Mesilla Times,” pp. 348-50; Finch, Confederate Pathway to the Pacific, pp. 44, 53, 65, 86, 95-96, 101-102, 106, 162, 262 n. 39; Frazier, Blood and Treasure, pp. 113-14.
