Kenneth Bitner Castleton photograph collection
Collection
Identifier: P0334
Scope and Contents
The photographs in this collection were taken by Kenneth B. Castleton or his associates between the years 1970 and 1985 although there are a few photographs taken before 1970. They record petroglyph and pictograph sites mainly in Utah, and to a lesser extent in Arizona, Colorado, Nevada, Wyoming, California, and other countries. They are an invaluable resource for researchers of ancient culture. There are also a small number of photographs of a more personal nature such as of the Castleton family and of trips that were not connected with rock art. These are filed at the end of the collection.
The photographs are mostly color prints and slides, with a few black-and-white prints. Dr. Castleton had arranged them by geographical area and this original order was retained. This order corresponds to that in his book, Petroglyphs and Pictographs of Utah, Volumes I and II (Salt Lake City: University of Utah Press, 1978). The photographs were kept in three separate formats: Notebooks, which contain prints arranged and attached to pages; Prints, which are loose and filed in folders; and Slides which are in preserving pages and folders. Each of these sections is arranged in a general geographical area, and then into a particular site within the area. All items in each section are consecutively numbered. The numbering begins over in each of the three sections. All numbers are preceded by a N (Notebooks), P (Prints), or S (Slides). Although photographs and papers are usually separated, in this case Castleton's field notes, articles, and papers were considered an essential support to the photographic information and are found in Section IV Manuscript Material.
In some cases photos of sites with the same or similar proper names are filed under different geographical areas because of the tendency for geological entities to defy boundaries, such as Nine Mile Canyon. In other cases two sites simply had the same name. This problem was resolved with extensive cross-indexing, so that one only need look under a given site name in the index to find all available prints or slides at that site, whether or not they are physically filed together.
Archaelogical Resource Protection Act (ARPA): Public Law 96-95, 16 U.S.C. Section 470
ARPA provides protection from unauthorized excavation and removal of archeological resources which are at least 100 years old. These resources include but are not limited to: pottery, basketry, bottles, weapons, weapon projectiles, tools, structures, pit houses, rock paintings, rock carvings, graves and human skeletal materials.
Further, no person may sell, purchase, exchange, transport, receive or offer to sell, purchase, or exchange, in interstate or foreign commerce, any archaeological resource excavated, removed, sold, purchased, exchanged, transported, or received in violation of any provision, rule, regulation, ordinance, or permit in effect under State or local law.
Any person who knowingly violates, or counsels, procures, solicits, or employs any person to violate any prohibition shall be subject to the penalties of ARPA.
PENALTIES UNDER ARPA
First Offense: Maximum $10,000 fine, 1-year jail sentence. If commercial or archaeological value and cost of restoration exceed $5,000, a $20,000 fine and 2-year jail sentence or both.
Second Offense: Maximum $100,000 fine and 5?year jail sentence or both.
Civil Recovery: Value of resource, cost of restoration, double for second offense.
Vehicle and Equipment Forfeiture: If used in connection with violation upon conviction or determination of involvement.
Informant Reward: One half of fine, not to exceed $500 paid from U.S. Treasury funds.
To Report Violations: Contact land management agency where the violation took place. On public lands, contact Special Agent In?Charge, Bureau of Land Management, Salt Lake City, Utah, (801)524-3013.
ARCHAEOLOGICAL RESOURCE PROTECTION ACT (ARPA)
Public Law 96-95, 16 U.S.C. Section 470
ARPA provides protection from unauthorized excavation and removal of archeological resources which are at least 100 years old.
These resources include but are not limited to: pottery, basketry, bottles, weapons, weapon projectiles, tools, structures, pit houses, rock paintings, rock carvings, graves and human skeletal materials.
Further, no person may sell, purchase, exchange, transport, receive or offer to sell, purchase, or exchange, in interstate or >foreign commerce, any archaeological resource excavated, removed, sold, purchased, exchanged, transported, or received in violation of any provision, rule, regulation, ordinance, or permit in effect under State or local law.
Any person who knowingly violates, or counsels, procures, solicits, or employs any person to violate any prohibition shall be subject to the penalties of ARPA.
PENALTIES UNDER ARPA
First Offense: Maximum $10,000 fine, 1-year jail sentence. If commercial or archaeological value and cost of restoration exceed $5,000, a $20,000 fine and 2-year jail sentence or both.
Second Offense: Maximum $100,000 fine and 5-year jail sentence or both.
Civil Recovery: Value of resource, cost of restoration, double for second offense.
Vehicle and Equipment Forfeiture: If used in connection with violation upon conviction or determination of involvement.
Informant Reward: One half of fine, not to exceed $500 paid from U.S. Treasury funds.
To Report Violations: Contact land management agency where the violation took place. On public lands, contact Special Agent In-Charge, Bureau of Land Management, Salt Lake City, Utah, (801)524-3013.
Site Index: The first number designates the box where the material is located. The number following the colon refers to the folder within the box.
The photographs are mostly color prints and slides, with a few black-and-white prints. Dr. Castleton had arranged them by geographical area and this original order was retained. This order corresponds to that in his book, Petroglyphs and Pictographs of Utah, Volumes I and II (Salt Lake City: University of Utah Press, 1978). The photographs were kept in three separate formats: Notebooks, which contain prints arranged and attached to pages; Prints, which are loose and filed in folders; and Slides which are in preserving pages and folders. Each of these sections is arranged in a general geographical area, and then into a particular site within the area. All items in each section are consecutively numbered. The numbering begins over in each of the three sections. All numbers are preceded by a N (Notebooks), P (Prints), or S (Slides). Although photographs and papers are usually separated, in this case Castleton's field notes, articles, and papers were considered an essential support to the photographic information and are found in Section IV Manuscript Material.
In some cases photos of sites with the same or similar proper names are filed under different geographical areas because of the tendency for geological entities to defy boundaries, such as Nine Mile Canyon. In other cases two sites simply had the same name. This problem was resolved with extensive cross-indexing, so that one only need look under a given site name in the index to find all available prints or slides at that site, whether or not they are physically filed together.
Archaelogical Resource Protection Act (ARPA): Public Law 96-95, 16 U.S.C. Section 470
ARPA provides protection from unauthorized excavation and removal of archeological resources which are at least 100 years old. These resources include but are not limited to: pottery, basketry, bottles, weapons, weapon projectiles, tools, structures, pit houses, rock paintings, rock carvings, graves and human skeletal materials.
Further, no person may sell, purchase, exchange, transport, receive or offer to sell, purchase, or exchange, in interstate or foreign commerce, any archaeological resource excavated, removed, sold, purchased, exchanged, transported, or received in violation of any provision, rule, regulation, ordinance, or permit in effect under State or local law.
Any person who knowingly violates, or counsels, procures, solicits, or employs any person to violate any prohibition shall be subject to the penalties of ARPA.
PENALTIES UNDER ARPA
First Offense: Maximum $10,000 fine, 1-year jail sentence. If commercial or archaeological value and cost of restoration exceed $5,000, a $20,000 fine and 2-year jail sentence or both.
Second Offense: Maximum $100,000 fine and 5?year jail sentence or both.
Civil Recovery: Value of resource, cost of restoration, double for second offense.
Vehicle and Equipment Forfeiture: If used in connection with violation upon conviction or determination of involvement.
Informant Reward: One half of fine, not to exceed $500 paid from U.S. Treasury funds.
To Report Violations: Contact land management agency where the violation took place. On public lands, contact Special Agent In?Charge, Bureau of Land Management, Salt Lake City, Utah, (801)524-3013.
ARCHAEOLOGICAL RESOURCE PROTECTION ACT (ARPA)
Public Law 96-95, 16 U.S.C. Section 470
ARPA provides protection from unauthorized excavation and removal of archeological resources which are at least 100 years old.
These resources include but are not limited to: pottery, basketry, bottles, weapons, weapon projectiles, tools, structures, pit houses, rock paintings, rock carvings, graves and human skeletal materials.
Further, no person may sell, purchase, exchange, transport, receive or offer to sell, purchase, or exchange, in interstate or >foreign commerce, any archaeological resource excavated, removed, sold, purchased, exchanged, transported, or received in violation of any provision, rule, regulation, ordinance, or permit in effect under State or local law.
Any person who knowingly violates, or counsels, procures, solicits, or employs any person to violate any prohibition shall be subject to the penalties of ARPA.
PENALTIES UNDER ARPA
First Offense: Maximum $10,000 fine, 1-year jail sentence. If commercial or archaeological value and cost of restoration exceed $5,000, a $20,000 fine and 2-year jail sentence or both.
Second Offense: Maximum $100,000 fine and 5-year jail sentence or both.
Civil Recovery: Value of resource, cost of restoration, double for second offense.
Vehicle and Equipment Forfeiture: If used in connection with violation upon conviction or determination of involvement.
Informant Reward: One half of fine, not to exceed $500 paid from U.S. Treasury funds.
To Report Violations: Contact land management agency where the violation took place. On public lands, contact Special Agent In-Charge, Bureau of Land Management, Salt Lake City, Utah, (801)524-3013.
Site Index: The first number designates the box where the material is located. The number following the colon refers to the folder within the box.
- A
- Africa-Rock Art, 28:4
- Alaska-Trip, 30:1
- "The All-American Man," 11:3
- Alvey Wash, 12:3; 27:2; 34:16
- Amasa Burton Trading Post, 10:7
- Anderson Bottom see Island in the Sky District
- Animals, 29:1
- Annabelle see Charlie Wall Hill
- Apartment Scenes, 29:21
- Argyle Canyon see Nine Mile Canyon
- Arizona-Rock Art, 28:1
- Arizona Strip, 8:18; 22:6
- Ash Creek see Browse
- Ashley Creek, 1:3; 13:2, 31:2
- Atlatl Rock see Valley of Fire
- B
- Bear Ladder Ruins see Natural Bridges National Monument
- Beaver Canyon, 6:2; 19:1; 32:19
- "Behind the Rocks," 4:7; 17:6; 32:10
- Berkeley Anderson Farm see Sigurd
- Berry Springs, 8:7; 21:5; 33:10
- Big Canyon see Desolation and Gray Canyons
- Big Cave see Site "X"
- Billy Goat Canyon see Arizona Strip
- Birch Creek see Ferron Canyon
- Bird Site see The Maze District
- Birds, 29:1
- Bishop, California, 8:16; 22:4
- Bitter Creek, 1:11; 14:4; 31:10
- Black Dragon Canyon, 4:2; 17:1; 32:5
- Black Hill, 8:10; 21:8; 33:13
- Black Rock Springs, 6:5; 19:4; 32:22
- Blawn Wash see Wah Wah Valley
- Bloomington, 8:10; 21:8; 33:13
- Blue Mountain-Dinosaur National Monument, 1:5; 13:4; 31:4
- Bluff, 10:3; 24:2; 34:2
- Boulder Canyon see Montezuma Canyon
- Braffet Canyon, 8:4; 21:2; 33:7
- Brown's Park, 29:22
- Browse, 8:7; 21:5; 33:10
- Brush Creek, 1:2; 13:1; 31:1
- Buckhorn, 2:2; 15:1; 31:15
- Buckskin Canyon, 9:8; 23:7; 33:24
- Buckskin Wash see Buckskin Canyon
- Bull Claim Hill, 7:3; 20:2; 33:2
- Bunting Ranch-Johnson Canyon, 9:4; 23:3; 33:20
- Butler Wash, 10:5; 10:12; 24:4; 24:5; 34:4
- Butterfly Bend, 4:8; 17:7; 32:11
- C
- Cactus Hill, 6:4; 19:3; 32:21
- Calf Canyon, 2:7; 15:6; 31:20
- Calf Creek see Escalante
- Canaan Gap, 8:12; 21:10; 33:15
- Canada-Trip, 30:2
- "The Canyon," 1:7; 13:6; 31:6
- Canyonlands National Park, 11:2
- Canyonlands Scenery, 29:2; 36:1
- Capitol Gorge see Capitol Reef National Park
- Capitol Reef National Park, 3:2; 16:1; 32:1
- Carbon-Duchesne Line, 1:13; 31:12
- Castle Peak Draw see Castle Peak Wash
- Castle Peak Wash, 1:4; 13:3; 31:3
- Castle Wash, 10:12; 25:2; 34:8
- Cat Stair Canyon, 9:7; 23:6; 33:23
- Cave Valley see Zion National Park
- Cedar City, 8:5; 21:3; 33:8
- Cedar Fort, 5:4; 18:3; 32:15
- Cedar View, 1:13; 14:6; 31:12
- Cha Canyon, 12:6; 34:19
- Chalfant see Bishop, California
- Chandler Canyon see Chandler and Florence Creeks and Nine Mile Canyon
- Chandler Creek, 1:9; 14:2; 31:8
- Charlie Wall Hill, 7:2; 20:1; 33:1
- Chinle Canyon, 10:7; 24:6; 34:3
- Chesler Canyon, 11:2; 26:1; 34:14
- China-Trip, 36:14
- Circle Cliffs, 12:5; 34:18
- Circleville, 12:5; 27:4; 34:18
- Clear Creek Canyon, 7:3; 20:2; 33:2
- Clear Creek Valley, 5:2; 32:13
- Clear Lake, 6:6; 19:5; 32:23
- Clyde Funk Cavern No.2 see Red Hole Wash
- Coal Canyon, 4:2; 17:1; 32:5
- Cockleburr Wash, 1:5; 13:4; 31:4
- Colorado Bridge see North Bank of the Colorado River
- Colorado City, 8:15; 33:18
- Colorado River-North, 4:5; 17:4; 32:8
- Colorado River-South, 4:7; 17:6; 32:10
- Colorado River-Upstream see North Bank of the Colorado River
- Colorado-Rock Art, 28:2
- Columbia-Trip, 29:4
- Comb Wash, 10:8; 10:9; 24:7; 24:8; 34:5; 34:6
- Connor's Spring, 5:2; 18:1; 32:13
- Coon Canyon, 5:6; 18:5; 32:17
- Corn Creek, 6:10; 32:27
- Cosa Range, 8:17
- Cottonwood, 4:9; 17:8; 32:12
- Cottonwood Canyon see Nine Mile Canyon
- Cottonwood Draw see Uinta Basin
- Courthouse Wash, 4:4; 4:5; 17:3; 17:4; 32:7; 32:8
- Cowboy Cave see The Maze District
- Coy's Cove see Clear Creek Canyon
- Cub Creek, 1:6; 13:5; 31:5
- D
- Dalton Wash, 8:8; 21:6; 33:11
- Danish Wash, 4:9; 17:8; 32:12
- Davis Canyon, 11:4; 26:3; 34:11
- Davis Gulch, 12:6; 27:5; 34:19
- Deer Canyon, 12:3; 27:2; 34:16
- Deer Creek, 9:6; 23:5; 33:22
- Deer Creek Point, 9:5; 23:4; 33:21
- Deer Creek Ranch, 12:4; 27:3; 34:17
- Deer Spring Wash, 9:7; 23:6
- Defiance Canyon see Lake Powell
- Delicate Arch-Arches National Monument, 17:8
- Deseret, 6:6; 19:5; 32:23
- Desert Mountain, 6:8; 19:7; 32:25
- Desolation Canyon, 1:14; 14:7; 31:13
- Devil's Kitchen, 6:7; 19:6; 32:24
- Devil's Lane, 11:2; 26:1; 34:14
- Devil's Pocket see Fillmore
- Dewey Bridge, 4:6; 17:5; 32:9
- Doll House see The Maze District
- Dorman Gulch, 2:2; 15:1; 31:15
- Doug Chew Ranch see "The Canyon"
- Dry Canyon see Nine Mile Canyon
- Dry Fork, 1:3; 13:2; 31:2
- Dry Fork of Coyote Wash, 12:4; 27:3; 34:17
- Dry Wash; 2:3, 15:2; 31:16
- E
- Easter Island, 28:5
- Echo Park-Dinosaur National Park (Colorado) see Rainbow Park
- Elbow Ranch, 7:7
- Ekker Copper Mine, 3:4; 16:3; 32:3
- England-Trip, 36:15
- Enterprise (Central Utah) see Nephi
- Enterprise (Southwest Utah), 8:14; 22:2; 33:17
- Escalante, 12:2; 27:1; 34:15
- Escalante Scenery, 29:5
- Evacuation Wash, 1:12; 14:5; 31:11
- F
- Fairfield, 5:4; 18:3; 32:15
- Ferron see Ferron Box
- Ferron Box, 2:3; 15:2; 31:16
- Ferron Canyon, 2:4; 15:3; 31:17
- Fillmore, 6:7; 19:6; 32:24
- Fish Creek Cove, 3:3; 16:2; 32:2
- Fisherman's Point see Uinta Basin
- Fishing Trips, 29:7
- Flag Point, 9:9; 23:8
- Flat Canyon see Desolation and Gray Canyons
- Flood Canyon, 9:8; 23:7; 33:24
- Flood Plain, 10:13; 25:3
- Florence Canyon see Chandler and Florence Creeks
- Florence Creek, 1:9; 14:2; 31:8
- Flower Cave see Site "X"
- Fool Creek, 6:8; 19:7; 32:25
- Forgotten Canyon see Lake Powell
- Fort Pierce, 8:13; 22:1; 33:16
- Fort Pierce see also Warner Valley
- Fortification Rock see Hill and Willow Creeks
- France-Rock Art, 28:6; 35:1
- France-Trip, 36:20
- Fremont Island Scenery, 29:9
- Fremont Wash, 8:3; 21:1; 33:6
- Fruita see Capitol Reef National Park
- G
- Garfield, 5:4; 18:3; 32:15
- Garrison see Pine Valley-Northwest
- Glacier National Park, 29:10
- Glenwood, 7:2; 20:1; 33:1
- Goblin Valley, 36:3
- Golden Spike Historical Site, 29:11
- Gordon Creek, 2:6; 31:19
- Goshen, 7:5; 20:4; 33:4
- Gould Wash, 8:12; 21:10
- Granary Ranch see Bunting Ranch-Johnson Canyon
- Grand Gulch, 10:9; 24:8; 24:9; 34:6
- Grand Wash see Capitol Reef National Park
- Granite Canyon, 6:9; 19:8; 32:26
- Grapevine see Arizona Strip
- Grapevine Canyon, 8:16; 22:4
- Grassy Trail Creek, 2:7; 15:6
- Gray Canyon, 1:14; 31:13
- Green River, 34:14
- The Gulch, 12:4; 27:3; 34:17
- Gunderson Site, 2:2; 15:1; 31:15
- Gunlock, 8:8; 21:6; 33:11
- Gunnison, 7:3; 7:4; 20:2; 20:3; 33:2
- Gusher, 1:15; 14:9; 31:14
- H
- Hancock Cove, 1:13; 14:6; 31:12
- Harrisburg Creek, 8:7; 21:5; 33:10
- Hatch Trading Post, 10:11; 25:1; 34:7
- Hawaii-Trip, 36:21
- Heber Valley, 36:4
- Henry Mountains, 12:7; 27:5; 34:20
- Hieroglyphic Canyon see Zion National Park
- Hill Creek, 1:9; 14:2; 31:8
- Hog Canyon, 9:3; 23:1
- Hog Springs see Hog Canyon
- Hog Springs see North Wash
- Hogup Cave, 36:5
- Hole-in-the-Rock, 6:10, 19:9; 32:27
- Hopi Site see Mid Butler Wash
- Horse Canyon-Needles District, 11:4; 26:3; 34:11
- Horseshoe-Barrier Canyon, 11:4; 26:3; 34:11
- Hovenweep, 10:11; 25:1
- I
- Idaho-Rock Art, 28:3
- Indian Canyon, 9:3; 23:1; 33:19
- Indian Creek (Southeast Utah), 10:2; 24:1; 34:1
- Indian Creek State Park, 10:2; 24:1; 34;1
- Indian Peak, 19:9
- Indian Rock, 5:6; 18:5; 32:17
- Inscription Rock, 8:17; 22:4
- Ioka, 1:10; 14:3; 31:9
- Ireland-Trip, 36:16
- Island in the Sky District, 11:6; 26:5; 34:13; 29:12
- Island Park, 1:7; 13:6
- Ivie Creek, 7:6; 20:5; 33:5
- J
- Jack Creek see Desolation and Gray Canyons
- Jensen Ranch see Torrey, Utah
- Jeppson Ranch, 8:14; 22:2; 33:17
- Joe's Valley, 2:4; 15:3; 31:17
- Johnson Canyon, 9:4; 23:3; 33:20
- Johnson Well see Cockleburr Wash
- Jones Hole, 1:4; 13:3; 31:3
- Josie Morris Ranch see Cub Creek
- Judd Creek, 5:3; 18:2; 32:14
- K
- Kamas Site, 5:6; 18:5; 32:17
- Kanab, 36:6
- Kanab River [Kanab Creek], 9:9; 23:8; 33:25
- Kane Creek Canyon, 4:8; 17:7; 32:11
- Kane Springs see Grand Gulch
- Katchina Bridge see Natural Bridges National Monument
- Kaufman Farm see Black Rock Springs
- Kennecott Smelter see Garfield
- King Solomon Cliff, 6:9; 19:8; 32:26
- Kitchen Canyon see Molly's Nipple Canyon
- L
- Lafe Peterson Farm, 29:13
- Lafe Peterson Farm see also Glenwood
- Lake Canyon see Lake Powell
- Lake Powell, 12:6; 27:5; 29:14; 34:19; 36:7
- Lake Tahoe, 29:15
- LaPoint-Tridell, 1:8; 14:1; 31:7
- Lathrop Canyon see Island in the Sky District
- "Layne Miller Site," 2:7; 15:6; 31:20
- Leeds, 8:15; 33:18
- Leland Bench Area, 1:8; 14:1; 31:7
- Lincoln Beach, 5:5; 18:4; 32:16
- Lion's Mouth, 8:6; 21:4; 33:9
- Little Brush Creek, 1:10; 14:3; 31:9
- Little Hole, 4:9; 32:12
- Long Canyon, 9:8; 23:7; 33:24
- Lower Paria River see White House
- Lower Red Lake see Island in the Sky District
- M
- Main Canyon (South Central Utah), 12:3; 27:2; 34:16
- Main Canyon (Uinta Basin), 1:12; 14:5; 31:11
- Manderfield, 6:2; 19:1; 32:19
- Manila, 1:10; 14:3; 31:9
- Manning Canyon, 7:7; 20:6
- Manti L.D.S. Temple, 29:16
- Maze District, 11:5; 26:4; 34:12
- McConkie Ranch see Dry Fork
- McCoy Springs, Nevada, 35:2
- McKee Springs Wash, 1:4; 13:3; 31:3
- Mediterranean-Trip, 30:3-4
- Meeker, Colorado, 29:22
- Mellor Canyon, 7:4; 20:3; 33:3
- Mexico Scenery, 29:17
- Milford, 6:2; 6:3; 19:1; 19:2; 32:19; 32:20
- Mill Creek, 4:6; 17:5; 32:9
- Mill Creek (Central Utah) see Clear Creek Canyon
- Minersville Dam, 8:3; 21:1
- Moab, 36:8
- Moab Golf Course, 4:7; 17:6; 32:10
- Molen Seep Wash, 2:6; 15:5; 31:19
- Molly's Nipple Canyon, 9:5; 23:4; 33:21
- Monarch Cave see Lower Butler Wash
- Montezuma Canyon, 10:13; 25:3; 34:9
- Montezuma Creek, 10:13; 25:3; 34:9
- Monument Valley, 25:4; 29:18
- Moqui Canyon see Lake Powell
- Moqui Map Site, 12:8; 34:21
- Morrow Ranch see Torrey, Utah
- Muley Point (Southwest Utah) see Fremont Wash
- Muley Point below Cedar Mesa, 10:10; 34:7
- Muley Point-John's Canyon, 10:9; 34:6
- Muley Twist see Circle Cliffs
- Mummy Cave see Nine Mile Canyon
- Myton, 1:2; 13:1; 31:1
- N
- Natural Bridges National Monument, 10:3; 24:2; 34:2
- Nefertiti Canyon see Desolation and Gray Canyons
- Nephi (Central Utah), 7:6; 20:5; 33:4
- Nephi Canyon, 8:6; 33:9
- Newspaper Rock see Indian Creek State Park
- Nine Mile Canyon, 1:14; 14:8; 31:13
- Norman Site, 4:8; 17:7; 32:11
- North Cottonwood Wash, 10:2; 24:1; 34:1
- North Wash (Capitol Reef), 3:5; 16:4; 32:4
- North Wash-Lower (South Central Utah), 12:7
- Notum, 3:5; 16:4; 32:4
- O
- Oak Canyon, 9:4; 23:3; 33:20
- Oak Creek Canyon see Zion National Park
- Oregon Trail, 29:19
- Orient-Trip, 30:5; 36:21
- Owachoma Bridge see Natural Bridges National Monument
- P
- Panguitch River, 12:5; 27:4; 34:18
- Paradise Flats, 3:4; 16:3; 32:3
- Paragonah, 8:4; 21:2; 33:7
- Paria River, 9:10; 33:25
- Park City, 36:9
- Park Wash, 9:6; 23:5; 33:22
- Parowan Canyon, 8:3; 33:6
- Parowan Gap, 8:4; 21:2; 33:7
- Parrish Canyon, 5:3; 18:2; 32:14
- Paxton Corral, 6:9; 19:8; 32:26
- Pelican Point see Utah Lake
- Peltier Ranch see Dry Fork
- Personal-Miscellaneous, 29:20; 36:10
- Peru-Trip, 36:17
- Peter's Leap, 8:6; 21:4
- Peter's Point see Desolation and Gray Canyons
- Petroglyph Canyon see Zion National Park
- Phipps Canyon, 12:8; 34:21
- Photographs-Miscellaneous, 30:9
- Pine Canyon, 1:12; 14:5; 31:11
- Pine Creek (Northwest Utah), 5:2; 18:1; 32:13
- Pine Creek (South Central Utah) see Escalante
- Pine Valley, 6:3; 19:2; 32:20
- Pink Quartz Hill, 6:4; 19:3; 32:21
- Pinnacle Canyon see Nine Mile Canyon
- Pipe Springs National Monument see Arizona Strip
- Piute Canyon, 12:7; 34:20
- Piute Cave see Arizona Strip
- Pleasant Creek see Capitol Reef National Park
- Pleasant Valley Escarpment see Myton
- Poison Springs Canyon, 3:4; 16:3; 32:3
- Poncho House, 10:8; 24:7; 34:5
- Potash Road see North Bank of the Colorado River
- Price, 36:11
- Price River see also Desolation and Gray Canyons
- Price River see also Price River-East
- Price River see also Price River-Lower
- Price River-East, 1:15; 14:9; 31:14
- Price River-Lower, 2:5; 15:4; 31:18
- Pumice, 6:5; 19:4; 32:22
- Q
- Quitchubah Creek, 7:6; 20:5; 33:5
- R
- Rainbow Park, 1:7; 13:6; 31:6
- Range Canyon see The Maze District
- Range Creek, 1:15; 14:9; 31:14
- Red Canyon-Jackson, 8:15; 22:3; 33:18
- Red Hole Wash, 2:5; 15:4; 31:18
- Red Rock Canyon, 7:5; 20:4; 33:3
- Red Sands Area-Jackson, 8:14; 22:2; 33:17
- Richfield, 7:7; 20:6; 33:5
- Rochester Creek, 2:4; 15:3; 31:17
- Rock Creek see Desolation and Gray Canyons
- Rock House Creek see Desolation and Gray Canyons
- Rock Ruin see Natural Bridges National Monument
- Ryan Ranch see Manderfield
- S
- St. George, 22:3
- Salt Creek, 11:3; 26:2; 34:10
- San Juan River, 10:4; 10:5; 10:6; 10:7; 24:3; 24:5; 24:6; 34:4
- Sand Island, 10:4; 24:3; 34:3
- Sand Wash see Desolation and Gray Canyons
- Santa Clara, 8:10; 21:8; 33:13
- Santa Clara River see Santa Clara
- Santaquin, 7:5; 20:4; 33:4
- Scandinavia-Trip, 36:18
- Scipio see Red Rock Canyon
- Scotland-Trip, 36:19
- Scott's Spring, 5:5; 18:4; 32:16
- Sego Canyon see Thompson Wash
- Seven Mile Canyon, 4:4; 17:3; 32:7
- Sevier Bridge Reservoir, 7:4; 20:3; 33:3
- Sheep Canyon, 9:10; 33:25
- Sheep Canyon see also Nine Mile Canyon
- Shey Canyon see Indian Creek
- Shiek Canyon see Grand Gulch
- Shoal Creek see Nephi Canyon (Southwest Utah)
- Short Canyon, 2:3; 15:2; 31:16
- Sigurd, 7:2; 20:1; 33:1
- Sinbad, 2:7; 15:6; 31:20
- Sipapu Bridge see Natural Bridges National Monument
- Site "X," 9:3; 23:2; 33:19
- Skutumpah, 9:5; 23:4; 33:21
- Sleeping Rainbow see Capitol Reef National Park
- Smith's Fork see Lake Powell
- Snake Gulch, 8:17; 22:5
- Snow Canyon, 8:12; 21:10; 33:15
- Soda Gulch, 12:8; 34:20
- South Canyon, 1:12; 14:5; 31:11
- South Central Utah, 36:12
- Southeast Utah, 36:13
- Spain-Rock Art, 28:6; 35:1
- Spain-Trip, 30:6; 36:20
- Spanish Rock see Myton
- Split Mountain Campground, 1:6; 13:5; 31:5
- Stansbury Island, 5:5; 18:4; 32:16
- Stearns Wash, 4:6; 17:5; 32:9
- Steinaker Reservoir, 1:11; 14:4; 31:10
- Step Canyon see Grand Gulch
- Sweetwater Canyon, 1:12; 14:5; 31:11
- Swelter Shelter, 1:6; 13:5; 31:5
- Syd and Charlie, 2:5; 15:4; 31:18
- T
- Temple Mountain, 3:5; 16:4; 32:4
- Temple Mountain see also Buckhorn
- "Thirteen Faces East"-Horse Canyon, 11:3; 26:2; 34:10
- Thompson Wash, 4:2; 17:1; 32:5
- Three Mile, 8:11; 21:9; 33:14
- Tonaquint, 8:15; 33:18
- Tooele Ordnance Depot, 5:7; 32:18
- Torrey, Utah, 3:3; 16:2; 32:2
- Turks Head see Island in the Sky District
- Turnbow Cabin-Arches National Park, 4:4; 17:3; 32:7
- Tushar Wash, 4:3; 17:2; 32:6
- Tuxedo Bottom see Island in the Sky District
- U
- Uinta Basin, 36:22
- Uinta Basin-South of Roosevelt, 1:8, 14:1; 31:7
- Unidentified Rock Art, 14:10
- Unidentified Sites, 28:8; 35:3; 36:3
- Utah Lake, 5:3; 18:2; 32:14
- V
- Valentine Bottom see Island in the Sky District
- Valley of Fire, 8:16; 22:4
- Virgin, 8:8; 21:6; 33:11
- W
- Wah Wah Valley, 6:4; 19:3; 32:21
- Warner Valley, 8:13; 22:1; 33:16
- Warner Valley see also Fort Pierce
- Washington Fields, 8:13
- Water Canyon see Grand Gulch
- Westwater Canyon see also Westwater Creek
- Westwater Canyon-Mouth, 4:9; 17:8; 32:12
- Westwater Creek, 4:3; 17:2; 32:6
- White Canyon, 10:12; 25:2; 34:8
- White House, 9:7; 23:6; 33:23
- Whitney Pass see Arizona Strip
- Wild Horse Canyon see Desolation and Gray Canyons
- Willard Bay, 5:7; 32:18
- Willard Caves, 5:7
- Willow Creek, 1:9; 14:2; 31;8
- Willow Gulch, 12:8; 34:21
- Wolf Hole see Arizona Strip
- Wood's Cove, 1:2; 13:1; 31:1
- Z
- Zion National Park, 8:9; 21:7; 33:12
Name and Subject Index: The name index pertains to the material that is located in the boxes labeled "Papers, Reports and Published Material-Articles." It is an alphabetical listing of authors. The first number designates the box where the material is located. The number following the colon refers to the folder within the box.
- A
- Adams, Nettie K., 38:1
- Adams, William Y., 38:1
- Agogino, George A., 38:5
- Aikens, C. Melvin, 38:1
- Ambler, J. Richard, 38:7
- Anati, Emmanuel, 38:1
- Andrews, Janet, 38:1
- Asaro, F., 38:2
- B
- Bain, James G., 38:2
- Baldwin, Gordon C., 38:2
- Bancroft, Hubert Howe, 38:2
- Bard, J.C., 38:2
- Baumhoff, Martin A., 38:6
- Beckwith, Frank, 38:2
- Berry, Michael S., 38:2; 39:1
- Bradshaw, Richard L., 38:2
- Breternitz, David A., 38:2
- Burgh, Robert F., 38:2
- Burke, William J., 38:2
- C
- Castleton Family, 29:6; 36:2
- Castleton's Birthdays, 29:3
- Coles, Norman E., 38:5
- Colton, Harold S., 38:3
- D
- Dalley, Gardiner F., 38:3
- Davis, Frank D., 38:5
- Day, Kent C., 38:3
- DeKorne, James B., 38:3
- Dellenbaugh, Frederick S., 38:3
- Dibble, David S., 38:3
- E
- Erwin, Richard P., 38:4
- F
- Fewkes, J. Walter, 38:4
- Foster, Gene, 38:4
- Fowler, Don D., 38:4
- Fremont Figures, Price Museum, 29:8
- Friends, 30:7; 36:2
- Fry, Gary Frederick, 38:4
- G
- Gaumer, Alfred Elliott, 38:5
- Gillin, John, 38:5
- Greenwood, Geraldine M., 38:5
- Grosscup, Gordon L., 38:5
- Guernsey, Samuel J., 38:7
- Gunnerson, James H., 38:5
- H
- Hadlock, Sally, 39:3
- Harrison, William M., 38:5
- Haynes, Vance, 38:6
- Hedden, Mark, 38:6
- Heizer, Robert F., 38:2; 38:6
- Hobler, Philip M., 38:7
- Hunt, Alice P., 38:6
- I
- Incised Stones, 28:7
- J
- Jameson, Sydney, 38:6
- Jennings, Jesse D., 38:6
- Jones, Carl Hugh, 38:6
- Judd, Neil M., 38:6
- K
- Kelly, Charles, 38:7
- Kidder, Alfred Vincent, 38:7
- Kowta, Makoto, 39:2
- L
- Leh, Leonard L., 38:7
- Lindsay, Alexander J., Jr., 38:1; 38:7
- Lipe, William D., 38:7
- Lister, Robert H., 38:7
- Long, Paul V., Jr., 38:7
- M
- MacBain, E. Heath, 38:5
- Madsen, David B., 38:2; 39:1
- Madsen, Rex, 39:1
- Mallery, Garrick, 39:1
- Malouf, Carling, 39:1
- Marwitt, John P., 39:1
- Mazonowicz, Douglas, 39:1
- McFadden, Tish, 39:1
- McGregor, John C., 39:1
- Meighan, Clement W., 38:5; 39:2
- Michels, Joseph W., 39:2
- Morris, Elizabeth A., 38:2
- Morss, Noel, 39:2
- Mulroy, Mary E., 39:2
- Murbarger, Nell, 39:2
- N
- Norbeck, Edward, 38:6
- O
- Olin, Caroline B., 39:3
- P
- Pepper, Choral, 39:3
- Pierson, Lloyd M., 39:3
- Pontoni, V.L., 39:1
- Porter-Klink, Luisa, 39:3
- Putnam, J.D., 39:3
- R
- Reagan, Albert B., 39:3
- Reed, Erik K., 39:3
- Remy, Jules, 39:3
- Rohn, Arthur H., Jr., 38:2
- Rudy, Jack R., 39:3
- S
- Schaafsma, Polly, 39:4
- Schroeder, Albert, 39:4
- Schuster, Carl, 39:4
- Scoggin, Charles R., 38:2
- Sharrock, Floyd W., 39:4
- Shepard, Anna O., 39:4
- Sleight, Frederick W., 39:4
- Smith, Elmer R., 39:4
- Steen, Charlie R., 39:4
- Stein, Mary Anne, 38:7
- Steward, Julian H., 39:4
- Stirland, Robert D., 39:3
- Suhm, Dee Ann, 39:4
- T
- Tanner, Dallas, 38:6
- Taylor, Dee C., 39:5
- Turner, Christy G., II., 38:1; 38:2; 39:5
- U
- Utah Archaeology (Newsletter), 39:5
- Utah Professional Archaeological Council, 39:5
- W
- Wauer, Roland H., 39:5
- Weller, Ted, 39:5
- Westerner Trips to Historical Sites, 30:8
- Wetherill, Ben W., 39:5
- Wilson, Bates, 38:6
- Worminton, H.M., 39:5
- Y
- Young, Levi E., 39:5
Dates
- 1970-1985
Language of Materials
Collection materials are in English.
Conditions Governing Access
Twenty-four hour advanced notice encouraged. Materials must be used on-site. Access to parts of this collection may be restricted under provisions of state or federal law.
Conditions Governing Use
The library does not claim to control copyright for all materials in the collection. An individual depicted in a reproduction has privacy rights as outlined in Title 45 CFR, part 46 (Protection of Human Subjects). For further information, please review the J. Willard Marriott Library’s Use Agreement and Reproduction Request forms.
Biographical Sketch
Dr. Kenneth B. Castleton is a unique individual, who after a distinguished medical career of forty-two years produced an authoritative work on the rock art of Utah, Petroglyphs and Pictographs of Utah, Volumes I and II. Without formal training in anthropology, Dr. Castleton became a student of ancient rock art, and turned what began as a hobby into an important contribution to the field.
Dr. Castleton was born in Salt Lake City on July 29, 1903. He attended the University of Utah and received an A.B. in Chemistry in 1923. In 1927, Dr. Castleton was awarded an M.D., with honors, by the University of Pennsylvania School of Medicine. He completed his internship with the University of Pennsylvania Hospital from 1927 to 1929, and residency as a Surgical Fellow at the Mayo Foundation from 1929 to 1933. He completed his formal education with a Ph.D. from the University of Minnesota in 1933.
In 1933 Dr. Castleton began his private practice of surgery in Salt Lake City, which he continued until 1962. He was an Associate Clinical Professor of Surgery at the University of Utah College of Medicine from 1942 to 1962, when he became Dean and Professor of Surgery until 1969. In January of 1969, Dr. Castleton was appointed Vice President for Medical Affairs, and held this position until July 1971, when he was named Emeritus Professor of Surgery. While at the University of Utah, his research centered on the study of gastrointestinal surgery, on which he published forty-two papers. Dr. Castleton was also one of the founding members of the Salt Lake Surgical Society.
During his distinguished years at the University of Utah, Dr. Castleton was also vice-chairman of the Public Fund Drive for the Medical Center, and in this capacity raised nearly $1 million in private funds. Later, as dean, he raised more than $1 million for the Medical Center. In 1974 Dr. Castleton received a honorary degree for his understanding of his fellow man, his lifelong commitment to the healing of the sick, and his constant devotion to excellence in teaching, research and patient care.
Dr. Castleton's involvement in professional organizations included being president of the Salt Lake County Medical Society (1949-1950), president of the Utah State Medical Association (1952-1953), and Utah Delegate to the House of Delegates of the American Medical Association (1958-1960). During his presidency of the Utah State Medical Association, he spearheaded a drive for sewage disposal and water purification plants. Dr. Castleton also received the Medici Publici Award from the University of Utah College of Medicine in 1965, and a Merit Honor Award from the Emeritus Club in 1971.
Dr. Castleton currently (1988) resides in Salt Lake City with his wife, Heloise. He is the father of four children and three step-children.
A river expedition down the Colorado in 1953 stirred Dr. Castleton's interest in rock art, but he did not seriously study petroglyphs and pictographs until his retirement from the University of Utah. Encouraged by Dr. Jesse D. Jennings, retired Professor of Anthropology at the University of Utah, and Donald V. Hague, Director of the Utah Museum of Natural History, Dr. Castleton explored the state's rock art, visiting old sites and discovering some new ones. He took thousands of photographs, recorded the exact locations of the sites, and kept field notes and analyzed the types of rock art encountered. He became the president of the Utah Museum of Natural History Board of Associates in 1975, and was a guest speaker at the American Rock Art Research Association Symposium in 1975 and 1976. In 1979, Dr. Castleton was the symposium chairman of the ARARA.
In a July 15, 1978 Deseret News article Dr. Castleton stated that rock art can be appreciated as primitive art that steps across centuries to "capture moments of time that fill the modern observer with an intense closeness to the prehistoric past."
Introduction to Rock Art Photographic Collection
By Kenneth B. Castleton*
Historic and prehistoric rock art is found in many parts of the world. The famous cave art of southern France and northern Spain is probably the best known, oldest and finest of any. In the United States ancient Indian rock art has been reported in 47 of the 50 states but the most abundant and possibly the best examples are in the West and Southwest, especially in Arizona, New Mexico, Utah, Nevada, and California. Utah is a veritable treasure house of such art and has literally hundreds of sites, among them some of the finest found anywhere. In reviewing the archaeology files and records at the University of Utah and in reading the reports of such writers as Reagan, Claflin-Emerson, Gunnerson, Jennings, Hunt, Aikens, Rudy, Schaafsma, and others, I have found that over 400 sites have been identified in this state alone, and to these I have added about 50 more.
In 1970 Polly Schaafsma prepared a Survey Report of Rock Art in Utah. This was not published but was mimeographed and a limited number of copies made. In it she described 59 rock art sites, their elements, information on their location, and in some cases their cultural relationships. It is a valuable document and provides an abundance of interesting and valuable information. She visited most of the sites personally and those that she did not visit were reported from information obtained from the literature and from personal discussions with knowledgeable people, usually people who lived in the area. In 1971 her Rock Art of Utah was published by the Peabody Museum of Archeology and Ethnology. This is a scholarly document in which she discusses rock art on a geographic and cultural basis, profusely illustrated with photographs, drawings and tables. These two documents constitute a major contribution to the literature of rock art in general and that of Utah in particular. She makes a real effort to determine the age of rock and her efforts in the field (a very difficult one) might be regarded as pioneering.
This document tends to supplement and extend Schaafsma's Survey. In the past three years I have been traveling to all parts of the state hunting to identify, inspect, and photograph all possible examples of rock art, armed with information obtained from the files of the University of Utah, reports by Gunnerson, the Claflin-Emerson Expedition, Reagan, Morss, Aiken, Steward, Rudy, and many others. Schaafsma's Survey has been of great assistance, especially in describing access to those sites that she reported. At the same time, in discussions with many people, usually local residents, I have been able to see and photograph many other sites not previously reported so far as I have been able to determine. It is this latter group that I have especially concentrated on, although I have visited almost all those reported by Schaafsma, and many of those reported by others, not included in her Survey.
In reporting this material I have several objectives in mind. (1) To identify and locate as many sites as possible, especially those not previously reported. (2) To provide accurate location and detailed access information for use by students and scholars in this field. I have found by experience that it is often difficult, sometimes extremely so, and very time consuming to try to find these sites, even with what appears to be fairly accurate directions and instructions. (3) Hopefully to stir up interest and sentiment that will lead to measures that will lead to better protection of these sites, especially from vandalism.
It was the observation that many fine panels were being defaced and even destroyed that stimulated my interest in the first place. (4) It is a fascinating hobby which has made it possible to see some incredibly beautiful country unspoiled and even unseen except by a relatively few people.
Taking good pictures is often difficult and at times impossible, especially when one is an amateur like me. However, even a professional will have difficulty at times. Petroglyphs are often badly worn by natural erosion, obscured by patination or damaged by vandalism. In some cases the contrast between the figures and the rock on which they are made is very minor indeed. Getting favorable lighting may pose a problem. Various aids may be used to improve the photography including polaroid filters to reduce glare, reflectors, chalking, wetting the surface, using side lighting, using flash bulbs, etc. I have elected not to use chalking even though many believe that it is justified. My reason for not using it is that I am not entirely sure that it is harmless and I don't want to take a chance on damaging the panel. Sketchings and tracings may be of great value but I have not done any, and I have tried rubbings on only a few occasions.
Rock art can be divided into two main types-petroglyphs and pictographs. Petroglyphs can be made by several techniques. The most common form is made by pecking with a sharp stone. Others are made by incising, carving, abrading and rubbing. Drilling was occasionally used to make small holes, thus producing a stippled effect. Bas-relief carvings are rarely seen. The rare occurrence of incised patterns on small stones probably deserves a separate category (Schuster).
Pictographs are produced by painting with mineral paints. Most of them are red, pink or brown, and composed of iron oxide pigment. Other colors are white (gypsum, calcium carbonate or lime); yellow (assumed to be yellow ocre); green (assumed to be malachite); black (carbon); and blue (probably from copper ore). All of these are of mineral origin except carbons.
Several figures were found in which petroglyphs and pictographs were found in the same figure, especially in the Uinta Basin. This is an uncommon finding.
The primitive Indian cultures that concern us here begin with the Pleistocene Period which extended from 1 million to 10,000 or 15,000 years ago. The Sandia Man existed as recently as 25,000 years ago, and the Folsom Man, Yuma, and others from 25,000 to about 15,000 years ago or less. Indians have lived in every part of the state from very ancient times. The earliest evidence of them was found in Danger Cave and dates about 9000 B.C. More recent cultures include Basketmaker I (1050 B.C. [?] to 200 A.D.). This term has largely been discontinued due to the lack of direct evidence of any culture, a result of their nomadic life. These were hunters and wild food gatherers and did not engage in farming. Basketmaker II, now called Basketmaker, existed about 200-400 A.D. These were semi-agriculture and semi-hunting people who produced fine baskets but little pottery and grew some corn and squash. Basketmaker III existed from 400-700 A.D. These people began to establish communities. They improved pottery and made excellent baskets. They also replaced the spear thrower with the bow and arrow. Pueblo I improved pottery and built villages and communal houses of true masonry. Pueblo II dates from 850 to 1000 A.D. Pueblo III the Mesa Verde Period from 1000 to 1200 A.D. Pueblo IV Regressive, from 1200 to 1700 A.D. saw droughts and migrations and ended with the invasion of the Spaniards. Pueblo V Historic from 1700 A.D. to the present.
Rock art has usually been identified with three cultures: Fremont, Anasazi, and Desert although recent evidence seems to indicate that much of the Desert culture, except for the very old art, is really Fremont of a somewhat earlier period than that usually associated with Fremont, that is, that which is essentially east of the Wasatch Mountains.
The culture that is characteristically and almost exclusively Utah's is the Fremont and most of the rock art is identified with it. It includes such great sites as the Uinta Basin, Nine Mile Canyon, the many sites south of Price, Capitol Reef National Monument, Canyonlands National Park, and some in the Escalante River drainage. In fact, the rock art east of the Wasatch and north of the Colorado River is almost exclusively Fremont, and it dates from 550 A.D. to 1000 A.D., with most of it probably in the latter half of that period.
Recent studies seem to indicate that much of the rock art in the western part of Utah is definitely Fremont in origin, and not just Fremont-influenced by roving bands of that culture. This has led to modification of the earlier subdivision of Fremont into the following by Marfitt: (1) Uinta Fremont (2) Great Salt Lake Fremont (3) Sevier Fremont (4) Parowan Fremont (5) San Rafael Fremont. There is however considerable uncertainty and controversy about the Fremont culture--its origin, dates, and fate, as indicated by the fact that much of the 35th Annual Meeting of the Society for American Archeology in Mexico City in 1970 was devoted to a symposium on this subject.
The second great culture responsible for rock art is the Anasazi which is found in the southeastern part of the state south of the Colorado River, and across the southern part of the state, including the Kanab area, Zion National Park, and the Cedar City and St. George areas.
Finally, the third culture, usually described as the Desert Culture, but now believed to consist largely of Fremont, includes the entire remainder of the state west of the Wasatch and north of the Cedar City area. Terms associated with the rock art of this area include Desert Archaic, Western Painted Style, Great Basin Curvilinear Style, etc.
Schaafsma divides the Fremont area into three subdivisions. (1) Uinta Fremont including the Uinta Basin, (2) the Northern San Rafael which includes the area from the junction of the White River with the Green on the north to the entrance of the Price River into the Green on the south, and (3) the Southern San Rafael from there down to Glen Canyon north of the Colorado and a little beyond the river.
The Anasazi area is also divided into three subdivisions. (1) The San Juan in southeast Utah, (2)the Kayenta-Anasazi southwest of the Escalante, and (3)the Virgin subdivision along the Virgin River to the Nevada and Arizona lines.
Naturally none of these lines are distinct or rigid. In all cases there is overlap due to social intercourse, traveling groups, and perhaps wars, so that Fremont influence is found in the Anasazi areas and vice versa.
Nonetheless, there are marked differences in the rock art found in different areas. For example, in some areas of the Uinta Basin the dominant and characteristic figure is the large anthropomorph with a trapezoidal or tapered trunk, flat or inverted-bucket head, necklaces, ear bobs and chest decorations. These are found in abundance in McKee Springs, Cub Creek and Dry Fork. Yet at Nine Mile Canyon, only 30 miles from Myton and about 70 miles from Vernal, the dozens of panels have few of these figures, but an abundance of deer, mountain sheep and curved and wavy lines which are infrequent in the Uinta Basin. Also, in the Uinta Basin most of the figures are pictographs, while those of Nine Mile are petroglyphs. In Cave Valley in Zion National Park we find the "Cave Valley Style," consisting of human figures with triangular trunks, and upper and lower extremities, which is peculiar to this area. In the western part of the state the figures are mostly geometric figures: circles, spirals, wavy lines, meandering lines and maze figures. Deer and mountain sheep are quite common but they are simple, crude, small, and appear to be older than those in the eastern part of the state. Examples of these are at Pumice, Connor Springs, Stansbury, and Deseret.
The dating of rock art is difficult and uncertain. In dating studies of ruins, archaeologists are extremely fortunate in having two valuable tools: dendrochronology and radiocarbon. Carbon-14 studies are often quite accurate and dependable, and dendrochronology may give the exact year in some cases. Neither of these are applicable to petroglyph or pictograph dating because organic material is essential to the process and neither of these involve organic material except possibly the use of carbon as black paint. So there is a great need for a reliable technique which will make positive dating possible. Meanwhile, the archaeologist is forced to rely on such indirect evidence as the association of rock art with habitations, and artifacts whose ages can be determined by existing methods. In some cases this may be quite reliable, but in others it is uncertain because the rock art may be found associated with artifacts of several different ages, and there is no way of knowing which of these cultures corresponds with the petroglyphs or pictographs.
One of the most urgent and difficult problems associated with this matter is that of vandalism. Many ruins have been explored and destroyed or seriously damaged, and many panels of rock art defaced by amateurs. I am convinced that most of this damage is done by otherwise reputable citizens who hunt for arrowheads, pottery, bones, and baskets like other people hunt for specimens of wildflowers or butterflies. Many feel a sense of proprietorship even though the land on which these things are found does not belong to them personally, and they point with great pride to their personal collection which they have found over a period of years. Some of those who deface rock art panels see nothing wrong with adding their names or initials to the ancient figures that were placed there by earlier generations. Some are malicious but these are probably few in number. In recent years, however, there seems to be an increasing number of commercial "pot hunters" who sell artifacts, sometimes at rather handsome figures. Recently I heard of a basket that was dug up in southern Utah that was sold for $1,400.
The solution of the problem is not easy. Better laws and better enforcement of laws would help, but it is extremely difficult to obtain convictions. Most residents of the area where these are found are much opposed to people coming in and digging and for this reason they are reluctant to give strangers information regarding the location of these sites. Some officials have told me that they are reluctant to put up signs reminding people that it is against the law to deface or dig in these sites, because they feel that to do so simply calls attention to the fact that these sites exist and this will in their opinion tend to lead to more vandalism. However, this too is not the answer because the interested public should be permitted to enjoy them, if this can be done without leading to more destruction. Fences around the better sites would help but will not eliminate the problem because determined visitors will manage to climb over, or this failing, they can always shoot at the panels with rifles, pistols, or shot guns, and I have found many panels where this has occurred. Moreover, there are so many sites that it would be impossible or impractical to build fences around all of them. Then there is the added problem that many of them are on private land.
So the solution seems to be (1) Better laws and better enforcement. (2) Better physical protection by fences, etc. where feasible. (3) Most important of all better education of the public so that it realizes the great value of these sites to the people of not only the present but of future generations. Only with widespread public support will protective measures be successful.
*Note: This was adapted from Dr. Castleton's introduction to his photographic collection which is found in Box 37 of the Manuscript material.
Dr. Castleton was born in Salt Lake City on July 29, 1903. He attended the University of Utah and received an A.B. in Chemistry in 1923. In 1927, Dr. Castleton was awarded an M.D., with honors, by the University of Pennsylvania School of Medicine. He completed his internship with the University of Pennsylvania Hospital from 1927 to 1929, and residency as a Surgical Fellow at the Mayo Foundation from 1929 to 1933. He completed his formal education with a Ph.D. from the University of Minnesota in 1933.
In 1933 Dr. Castleton began his private practice of surgery in Salt Lake City, which he continued until 1962. He was an Associate Clinical Professor of Surgery at the University of Utah College of Medicine from 1942 to 1962, when he became Dean and Professor of Surgery until 1969. In January of 1969, Dr. Castleton was appointed Vice President for Medical Affairs, and held this position until July 1971, when he was named Emeritus Professor of Surgery. While at the University of Utah, his research centered on the study of gastrointestinal surgery, on which he published forty-two papers. Dr. Castleton was also one of the founding members of the Salt Lake Surgical Society.
During his distinguished years at the University of Utah, Dr. Castleton was also vice-chairman of the Public Fund Drive for the Medical Center, and in this capacity raised nearly $1 million in private funds. Later, as dean, he raised more than $1 million for the Medical Center. In 1974 Dr. Castleton received a honorary degree for his understanding of his fellow man, his lifelong commitment to the healing of the sick, and his constant devotion to excellence in teaching, research and patient care.
Dr. Castleton's involvement in professional organizations included being president of the Salt Lake County Medical Society (1949-1950), president of the Utah State Medical Association (1952-1953), and Utah Delegate to the House of Delegates of the American Medical Association (1958-1960). During his presidency of the Utah State Medical Association, he spearheaded a drive for sewage disposal and water purification plants. Dr. Castleton also received the Medici Publici Award from the University of Utah College of Medicine in 1965, and a Merit Honor Award from the Emeritus Club in 1971.
Dr. Castleton currently (1988) resides in Salt Lake City with his wife, Heloise. He is the father of four children and three step-children.
A river expedition down the Colorado in 1953 stirred Dr. Castleton's interest in rock art, but he did not seriously study petroglyphs and pictographs until his retirement from the University of Utah. Encouraged by Dr. Jesse D. Jennings, retired Professor of Anthropology at the University of Utah, and Donald V. Hague, Director of the Utah Museum of Natural History, Dr. Castleton explored the state's rock art, visiting old sites and discovering some new ones. He took thousands of photographs, recorded the exact locations of the sites, and kept field notes and analyzed the types of rock art encountered. He became the president of the Utah Museum of Natural History Board of Associates in 1975, and was a guest speaker at the American Rock Art Research Association Symposium in 1975 and 1976. In 1979, Dr. Castleton was the symposium chairman of the ARARA.
In a July 15, 1978 Deseret News article Dr. Castleton stated that rock art can be appreciated as primitive art that steps across centuries to "capture moments of time that fill the modern observer with an intense closeness to the prehistoric past."
Introduction to Rock Art Photographic Collection
By Kenneth B. Castleton*
Historic and prehistoric rock art is found in many parts of the world. The famous cave art of southern France and northern Spain is probably the best known, oldest and finest of any. In the United States ancient Indian rock art has been reported in 47 of the 50 states but the most abundant and possibly the best examples are in the West and Southwest, especially in Arizona, New Mexico, Utah, Nevada, and California. Utah is a veritable treasure house of such art and has literally hundreds of sites, among them some of the finest found anywhere. In reviewing the archaeology files and records at the University of Utah and in reading the reports of such writers as Reagan, Claflin-Emerson, Gunnerson, Jennings, Hunt, Aikens, Rudy, Schaafsma, and others, I have found that over 400 sites have been identified in this state alone, and to these I have added about 50 more.
In 1970 Polly Schaafsma prepared a Survey Report of Rock Art in Utah. This was not published but was mimeographed and a limited number of copies made. In it she described 59 rock art sites, their elements, information on their location, and in some cases their cultural relationships. It is a valuable document and provides an abundance of interesting and valuable information. She visited most of the sites personally and those that she did not visit were reported from information obtained from the literature and from personal discussions with knowledgeable people, usually people who lived in the area. In 1971 her Rock Art of Utah was published by the Peabody Museum of Archeology and Ethnology. This is a scholarly document in which she discusses rock art on a geographic and cultural basis, profusely illustrated with photographs, drawings and tables. These two documents constitute a major contribution to the literature of rock art in general and that of Utah in particular. She makes a real effort to determine the age of rock and her efforts in the field (a very difficult one) might be regarded as pioneering.
This document tends to supplement and extend Schaafsma's Survey. In the past three years I have been traveling to all parts of the state hunting to identify, inspect, and photograph all possible examples of rock art, armed with information obtained from the files of the University of Utah, reports by Gunnerson, the Claflin-Emerson Expedition, Reagan, Morss, Aiken, Steward, Rudy, and many others. Schaafsma's Survey has been of great assistance, especially in describing access to those sites that she reported. At the same time, in discussions with many people, usually local residents, I have been able to see and photograph many other sites not previously reported so far as I have been able to determine. It is this latter group that I have especially concentrated on, although I have visited almost all those reported by Schaafsma, and many of those reported by others, not included in her Survey.
In reporting this material I have several objectives in mind. (1) To identify and locate as many sites as possible, especially those not previously reported. (2) To provide accurate location and detailed access information for use by students and scholars in this field. I have found by experience that it is often difficult, sometimes extremely so, and very time consuming to try to find these sites, even with what appears to be fairly accurate directions and instructions. (3) Hopefully to stir up interest and sentiment that will lead to measures that will lead to better protection of these sites, especially from vandalism.
It was the observation that many fine panels were being defaced and even destroyed that stimulated my interest in the first place. (4) It is a fascinating hobby which has made it possible to see some incredibly beautiful country unspoiled and even unseen except by a relatively few people.
Taking good pictures is often difficult and at times impossible, especially when one is an amateur like me. However, even a professional will have difficulty at times. Petroglyphs are often badly worn by natural erosion, obscured by patination or damaged by vandalism. In some cases the contrast between the figures and the rock on which they are made is very minor indeed. Getting favorable lighting may pose a problem. Various aids may be used to improve the photography including polaroid filters to reduce glare, reflectors, chalking, wetting the surface, using side lighting, using flash bulbs, etc. I have elected not to use chalking even though many believe that it is justified. My reason for not using it is that I am not entirely sure that it is harmless and I don't want to take a chance on damaging the panel. Sketchings and tracings may be of great value but I have not done any, and I have tried rubbings on only a few occasions.
Rock art can be divided into two main types-petroglyphs and pictographs. Petroglyphs can be made by several techniques. The most common form is made by pecking with a sharp stone. Others are made by incising, carving, abrading and rubbing. Drilling was occasionally used to make small holes, thus producing a stippled effect. Bas-relief carvings are rarely seen. The rare occurrence of incised patterns on small stones probably deserves a separate category (Schuster).
Pictographs are produced by painting with mineral paints. Most of them are red, pink or brown, and composed of iron oxide pigment. Other colors are white (gypsum, calcium carbonate or lime); yellow (assumed to be yellow ocre); green (assumed to be malachite); black (carbon); and blue (probably from copper ore). All of these are of mineral origin except carbons.
Several figures were found in which petroglyphs and pictographs were found in the same figure, especially in the Uinta Basin. This is an uncommon finding.
The primitive Indian cultures that concern us here begin with the Pleistocene Period which extended from 1 million to 10,000 or 15,000 years ago. The Sandia Man existed as recently as 25,000 years ago, and the Folsom Man, Yuma, and others from 25,000 to about 15,000 years ago or less. Indians have lived in every part of the state from very ancient times. The earliest evidence of them was found in Danger Cave and dates about 9000 B.C. More recent cultures include Basketmaker I (1050 B.C. [?] to 200 A.D.). This term has largely been discontinued due to the lack of direct evidence of any culture, a result of their nomadic life. These were hunters and wild food gatherers and did not engage in farming. Basketmaker II, now called Basketmaker, existed about 200-400 A.D. These were semi-agriculture and semi-hunting people who produced fine baskets but little pottery and grew some corn and squash. Basketmaker III existed from 400-700 A.D. These people began to establish communities. They improved pottery and made excellent baskets. They also replaced the spear thrower with the bow and arrow. Pueblo I improved pottery and built villages and communal houses of true masonry. Pueblo II dates from 850 to 1000 A.D. Pueblo III the Mesa Verde Period from 1000 to 1200 A.D. Pueblo IV Regressive, from 1200 to 1700 A.D. saw droughts and migrations and ended with the invasion of the Spaniards. Pueblo V Historic from 1700 A.D. to the present.
Rock art has usually been identified with three cultures: Fremont, Anasazi, and Desert although recent evidence seems to indicate that much of the Desert culture, except for the very old art, is really Fremont of a somewhat earlier period than that usually associated with Fremont, that is, that which is essentially east of the Wasatch Mountains.
The culture that is characteristically and almost exclusively Utah's is the Fremont and most of the rock art is identified with it. It includes such great sites as the Uinta Basin, Nine Mile Canyon, the many sites south of Price, Capitol Reef National Monument, Canyonlands National Park, and some in the Escalante River drainage. In fact, the rock art east of the Wasatch and north of the Colorado River is almost exclusively Fremont, and it dates from 550 A.D. to 1000 A.D., with most of it probably in the latter half of that period.
Recent studies seem to indicate that much of the rock art in the western part of Utah is definitely Fremont in origin, and not just Fremont-influenced by roving bands of that culture. This has led to modification of the earlier subdivision of Fremont into the following by Marfitt: (1) Uinta Fremont (2) Great Salt Lake Fremont (3) Sevier Fremont (4) Parowan Fremont (5) San Rafael Fremont. There is however considerable uncertainty and controversy about the Fremont culture--its origin, dates, and fate, as indicated by the fact that much of the 35th Annual Meeting of the Society for American Archeology in Mexico City in 1970 was devoted to a symposium on this subject.
The second great culture responsible for rock art is the Anasazi which is found in the southeastern part of the state south of the Colorado River, and across the southern part of the state, including the Kanab area, Zion National Park, and the Cedar City and St. George areas.
Finally, the third culture, usually described as the Desert Culture, but now believed to consist largely of Fremont, includes the entire remainder of the state west of the Wasatch and north of the Cedar City area. Terms associated with the rock art of this area include Desert Archaic, Western Painted Style, Great Basin Curvilinear Style, etc.
Schaafsma divides the Fremont area into three subdivisions. (1) Uinta Fremont including the Uinta Basin, (2) the Northern San Rafael which includes the area from the junction of the White River with the Green on the north to the entrance of the Price River into the Green on the south, and (3) the Southern San Rafael from there down to Glen Canyon north of the Colorado and a little beyond the river.
The Anasazi area is also divided into three subdivisions. (1) The San Juan in southeast Utah, (2)the Kayenta-Anasazi southwest of the Escalante, and (3)the Virgin subdivision along the Virgin River to the Nevada and Arizona lines.
Naturally none of these lines are distinct or rigid. In all cases there is overlap due to social intercourse, traveling groups, and perhaps wars, so that Fremont influence is found in the Anasazi areas and vice versa.
Nonetheless, there are marked differences in the rock art found in different areas. For example, in some areas of the Uinta Basin the dominant and characteristic figure is the large anthropomorph with a trapezoidal or tapered trunk, flat or inverted-bucket head, necklaces, ear bobs and chest decorations. These are found in abundance in McKee Springs, Cub Creek and Dry Fork. Yet at Nine Mile Canyon, only 30 miles from Myton and about 70 miles from Vernal, the dozens of panels have few of these figures, but an abundance of deer, mountain sheep and curved and wavy lines which are infrequent in the Uinta Basin. Also, in the Uinta Basin most of the figures are pictographs, while those of Nine Mile are petroglyphs. In Cave Valley in Zion National Park we find the "Cave Valley Style," consisting of human figures with triangular trunks, and upper and lower extremities, which is peculiar to this area. In the western part of the state the figures are mostly geometric figures: circles, spirals, wavy lines, meandering lines and maze figures. Deer and mountain sheep are quite common but they are simple, crude, small, and appear to be older than those in the eastern part of the state. Examples of these are at Pumice, Connor Springs, Stansbury, and Deseret.
The dating of rock art is difficult and uncertain. In dating studies of ruins, archaeologists are extremely fortunate in having two valuable tools: dendrochronology and radiocarbon. Carbon-14 studies are often quite accurate and dependable, and dendrochronology may give the exact year in some cases. Neither of these are applicable to petroglyph or pictograph dating because organic material is essential to the process and neither of these involve organic material except possibly the use of carbon as black paint. So there is a great need for a reliable technique which will make positive dating possible. Meanwhile, the archaeologist is forced to rely on such indirect evidence as the association of rock art with habitations, and artifacts whose ages can be determined by existing methods. In some cases this may be quite reliable, but in others it is uncertain because the rock art may be found associated with artifacts of several different ages, and there is no way of knowing which of these cultures corresponds with the petroglyphs or pictographs.
One of the most urgent and difficult problems associated with this matter is that of vandalism. Many ruins have been explored and destroyed or seriously damaged, and many panels of rock art defaced by amateurs. I am convinced that most of this damage is done by otherwise reputable citizens who hunt for arrowheads, pottery, bones, and baskets like other people hunt for specimens of wildflowers or butterflies. Many feel a sense of proprietorship even though the land on which these things are found does not belong to them personally, and they point with great pride to their personal collection which they have found over a period of years. Some of those who deface rock art panels see nothing wrong with adding their names or initials to the ancient figures that were placed there by earlier generations. Some are malicious but these are probably few in number. In recent years, however, there seems to be an increasing number of commercial "pot hunters" who sell artifacts, sometimes at rather handsome figures. Recently I heard of a basket that was dug up in southern Utah that was sold for $1,400.
The solution of the problem is not easy. Better laws and better enforcement of laws would help, but it is extremely difficult to obtain convictions. Most residents of the area where these are found are much opposed to people coming in and digging and for this reason they are reluctant to give strangers information regarding the location of these sites. Some officials have told me that they are reluctant to put up signs reminding people that it is against the law to deface or dig in these sites, because they feel that to do so simply calls attention to the fact that these sites exist and this will in their opinion tend to lead to more vandalism. However, this too is not the answer because the interested public should be permitted to enjoy them, if this can be done without leading to more destruction. Fences around the better sites would help but will not eliminate the problem because determined visitors will manage to climb over, or this failing, they can always shoot at the panels with rifles, pistols, or shot guns, and I have found many panels where this has occurred. Moreover, there are so many sites that it would be impossible or impractical to build fences around all of them. Then there is the added problem that many of them are on private land.
So the solution seems to be (1) Better laws and better enforcement. (2) Better physical protection by fences, etc. where feasible. (3) Most important of all better education of the public so that it realizes the great value of these sites to the people of not only the present but of future generations. Only with widespread public support will protective measures be successful.
*Note: This was adapted from Dr. Castleton's introduction to his photographic collection which is found in Box 37 of the Manuscript material.
Extent
12150 Photographic Prints
Abstract
The Kenneth Bitner Castleton photograph collection contains photographs and slides of petroglyphs and pictographs, mainly in Utah.
Immediate Source of Acquisition
Gift of Kenneth Bitner Castleton in 1974 and 1986.
Separated Materials
Manuscript materials were transferred to the Kenneth B. Castleton papers (ACCN 0121).
Processing Information
Processed by Cindy Morgan and Margery W. Ward in 1988.
- Title
- Guide to the Kenneth Bitner Castleton photograph collection 1970-1985
- Author
- Finding aid prepared by Cindy Morgan.
- Date
- 1988
- Description rules
- Describing Archives: A Content Standard
- Language of description
- Undetermined
- Script of description
- Code for undetermined script
- Language of description note
- Finding aid written in English.
Repository Details
Part of the J. Willard Marriott Library Special Collections Repository
Contact:
295 South 1500 East
Salt Lake City Utah 84112 United States
801-581-8863
special@library.utah.edu
295 South 1500 East
Salt Lake City Utah 84112 United States
801-581-8863
special@library.utah.edu