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1. Publisher's Weekly, April 30,1932, pp. 1878-79, quoted in Laverne Mau Dicker, "Laura Adams Armer: California Photographer," California Historical Quarterly, 56 (Summer 1977), p. 136. Laura was also fond of recalling an early premonition: "Don't worry...when you are an old woman you will write what you fail to paint."
2. For Armer's growing authority in the field of photography, see her article, "The Picture Possibilities of Photography," published in Overland Monthly, 36 (September 1900), pp. 241-45 . Armer was an exhibitor at the San Francisco Photographic Salons of 1901,1902, and 1903, and active in numerous salons in the early 1920s. Most of her salon photographs were Pictorialist portraits or views of San Francisco, especially the waterfront and Chinatown. A collection of her photographic negatives is located at the Wheelwright Museum, Santa Fe, New Mexico. Collections of vintage photographs are found at the Wheelwright Museum, the California Historical Society, and The Oakland Museum.
3. Laura Armer to Eugene L. Conrotto, December 27, 1859, quoted in Eugene L. Conrotto, "Armer: Letters," MA thesis (Stanislaus: California State College, 1978), p. 297. Conrotto was the editor of Desert Magazine, and in 1960 he published a ten-part series of articles by Armer on the Southwest. Conrotto's thesis was built around the letters exchanged between himself and Armer and the articles.
4. Sidney Armer developed logos and advertising symbols for many manufacturers, including Albert's Flapjack Mix, "Miss Sun Maid" (the raisin girl), Hill's Brothers "Turk," the Del Monte shield, and various designs for the Morse Seed Company. In later life, Sidney was very successful with his watercolor paintings of California wildflowers, which were regularly published by the Richfield Oil Company.
5. Laura provided eight full-page illustrations for Jones' book. They are presumed to be photographic, or at least based on photographs. She had been commissioned by the passenger agent of the Oceanic Steamship Company to take a series of photographs for promotional purposes. Unfortunately, the agent did not have authority to make this commission and she was not paid for her work.
6. Laura Adams Armer, In Navajo Land (New York: David McKay Company, 1962), p. 18.
7. Ibid., p. 52.
8. Ibid., p.65.
9. See Conrotto, "Armer: Letters," pp. 471-72. "When the 76th [sandpainting copy] was finished the Navajos christened her, The Woman Who Works Very Hard." A number of Armer's painted illustrations are at the University of California, Berkeley. A sound recording of her descriptions of the meaning of these sand paintings is thought to exist.
10. A copy of The Mountain Chant is held by the Wheelwright Museum, Santa Fe, New Mexico. For an account of the production of this film, see Laura Adams Armer, "The Crawler, Navajo Healer," The Masterkey, 27 (January - February 1953), pp. 5-10.
11. Laura Adams Armer to Lorenzo Hubbell, October 18, 1928, Manuscript Division, University of Arizona, Tucson.
12. "Armer, Laura Adams," Contemporary Authors, 13 (1978), p. 6.
13. Conrotto, "Armer: Letters," p. 304.
14. Ibid., p. 242.
15. Alberta Armer, Working Hands (Published by the author, 1981), pp. 110-11.
16. Conrotto, "Armer: Letters" p. 244.
17. Of the plate opposite p. 26, Laura wrote (ibid., p. 499): "We both did it. The deer are mine and the background is Sidney's."
18. The Forest Pool followed Laura's visit to Mexico. The illustrations, reproduced in color, very much reflect the influence of painter Diego Rivera.
19. Present whereabouts unknown.
20. Conrotto, "Armer: Letters," pp. 321-22.
21. Ibid., pp. 330-81.