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The Railroad Photographs

of

Alfred A. Hart, Artist

by MEAD B. KIBBEY

Edited by Peter E. Palmquist

The California State Library Foundation Sacramento, California

Copyright © 1995 by California State Library Foundation
All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher.

ISBN 0-929722-85-X

Printed in the United States of America


Alfred A. Hart, Artist


Table of Contents

Editor's Foreword IX

Author's Preface XI

Introduction and Brief History of the Construction

of the Central Pacific Railroad 15

Starting The Railroad 18

Judah's Death at 37 22

CPRR Tunneling Methods 25

Nitroglycerin Adventures 28

Building the World's Longest Barn 33

Racing to Utah 35

Crocker's Bet to Lay Ten Miles in One Day 36

A Day of National Rejoicing 39

The Problem of Local Time 43

Photographing at Promontory 44

Notes on railroad books and appendixes 45

Alfred Hart: Photographer, Author and Publisher 51

Dating Hart's RR Construction Stereos 54

Dating Stereos with Tax Stamps 60

Dates the CPRR reached various points 62

The Fate of Hart's CPRR Negatives 69

Hart's years after 1869 73

Hart's Photographic and Production Methods 79

Methods in the Field 79

Light Sensitive Materials 80

The Wet Collodion Process 81

Necessary Ingrediants 82

Preparing The Plates for Exposure 84

Developing and Fixing the Negative 85

Hart's Camera and Equipment 89

Shutters 95

Stereograph Production 96

Making Stereo Prints 96

Sensitizing the Paper and

Printing the Negative 99

Masking 100

Toning, and Fixing the Prints 102

Transposing 103

Title Strips 104

Viewing Stereographs 105

Looking for the Photographer 109

Hart's Non-Railroad Photographs 111

Appendixes:

A Reproductions of Hart's CPRR Stereo Views 113

B Numerical List of Hart's CPRR Stereo Views 153

C Geographical List of Hart's CPRR Stereos 167

D Public Sources of Hart's CPRR Stereo Views 177

E Glenn Willumson's Article on Hart 187

F Transposing and some Stereo Camera Details 203

G Replicas of somePages of Hart's Travel Book 213

Reading List and Short Bibliography 231

Index 233

List of Illustrations 238


APPENDIX A

Reproductions

of

Alfred Hart's CPRR Stereo Views


APPENDIX A

Notes on Hart's Stereographs

1. As mentioned earlier, the assistance of two people was vital to the preparation of this appendix. Jeneane Crawford selected the stereographs to be photographed on sheets of 12 views, checked the order and titles and carefully prepared and inserted replacement photographs on the master sheets. Barry Swackhamer brought his collection to Sacramento, provided improved or unavailable copies for photographing, and checked titles. Without them, this section would never have been completed.

2. Due to the rarity and age of the stereographs reproduced, it was very difficult to produce copy prints of equal density and contrast. Some had holes in the corners from being tacked to a wall, a few had only one usable image which had to be duplicated to simulate a stereograph, and many had faded over the years requiring an enhancement of lost contrast.

3. Most of the stereographs reproduced here were obtained from the two private collections listed in Appendix D. Those from public collections are marked with an asterisk in Appendix D. As often as possible a stereograph published by Hart was reproduced, but a markedly superior Watkins-published card was occasionally used.

4. The prints are arranged in the numerical order assigned by Hart, that is, by the numbers preceding the titles. When the title on the card is absent or incorrect, the illustration is placed in position as if numbered and titled correctly.

5. The titles given below each card are not always those used by Hart, but include information to assist in identifying the location or call attention to a detail of the stereograph not readily apparent. For the exact Hart title, refer to Appendix B which also has further descriptive information in the footnotes. To obtain the Hart numbers of all titles at a given distance from Sacramento, use Appendix C.

6. By error, one print (Hart No. 56) occurs on both pages 120 and 121, fortunately it's one of his best. 25 prints are variations of Hart titles. As far as possible the version included in the Leland Stanford Album at the Green Library of Stanford University is listed as the "regular" issue. If not included in the Album, the version most frequently seen is considered "regular"

A few untitled Hart variations which seem to have been taken near the railroad are located at the end of the regular numbered series. If these are near an existing regular view, they are given the number of the view followed by a letter. If they are not related to a particular regular view, they are numbered starting at 1000.

7. Reproductions of 19 imprints from the backs of stereographs published by Hart, one carte de visite he published, and three imprints used by Frank Durgan are included at the end of Appendix A. They are arranged alphabetically and designated by the letters A through W. Back imprints having the same words and different styles are arranged chronologically. Alphabetical Listing of Hart and Durgan back imprints

Illustrations of back imprints are in the order listed on pages 149-151 The notes in brackets have been added for using this list without the ilustrations.

A. Alfred A. Hart, ARTIST Sacramento [no address]

AA. The World as seen in CALIFORNIA [135 J Street]

B. The World as seen in CALIFORNIA [no address]

C. CALIFORNIA Photographed and Published by

Alfred A. Hart

D. For CENTRAL PACIFIC RAILROAD [plain border]

E. For CENTRAL PACIFIC RAILROAD [ornate border]

F. Sierra Nevada Frank DURGAN [65 J, Small locomotive]

G. Sierra Nevada Frank DURGAN [65 J, Large locomotive]

H. F. DURGAN, Lewiston [Maine] [rubber stamp]

I. Scenes on the HUMBOLDT RIVER [135 J address]

J. Scenes on the HUMBOLDT RIVER [Golden State 65 J,

shaded letters.]

K. Scenes on the HUMBOLDT RIVER [Golden State 65 St.,

plain letters.]

L. Scenes in the Valley of the SACRAMENTO [135 J Street]

M. Valley of the SACRAMENTO [Golden State Gallery 65 J St.]

N. Scenes near Great SALT Lake [Golden State Gallery,

shaded letters]

O. Scenes in the SIERRA Nevada Mountains,

135 J St.[paste on label]

P. Scenes in the SIERRA Nevada Mountains, [no street address]

Q. Scenes in the SIERRA Nevada Mountains, [135 J St. address]

R. Scenes in the SIERRA Nevada Mountains,

[Golden State Gallery 65 J Street]

S. Scenes in the SIERRA Nevada Mountains,

[65 J St., Ornate border, like Durgan]

T. Scenes in the WASHOE RANGE [135 J address]

U. Scenes in the WASHOE RANGE

[Golden State Gallery, 65 J Street]

V. WHITNEY & PARADISE

[Paste-on label "Negatives by A.A. Hart"]

W. Alfred A. Hart, Artist [back for carte de visite]


Kibbey Figure 79

ABOVE: (Fig. 79) April 22, 1995. Exterior of Donner Summit snowshed after a hard winter. The 30-foot high interior is shown in (Fig. 47). Seasonal snowfall was over 600 inches, and some has melted, but the skier standing at track-level could still cross right over the shed. The CPRR worked 24 hours a day on the adjacent tunnel throughout the winter of 1866/67 when the snowfall was similar. (MBK photo using 1000 m/m telephoto)

Kibbey Figure 80

RIGHT: (Fig. 80) April 22, 1995, Looking southeast at Donner Summit Tunnels 7 and 8. Twelve to fifteen feet of snow remained on level ground as it did in 1867 when the CPRR workers were finishing the Great Wall and the tunnels. The dark square at the center below Crested Peak is the west end of Tunnel 7. (MBK photo)


APPENDIX B

Numerical List

of

Alfred Hart's CPRR Stereo Views

NUMERICAL LIST OF CPRR STEREO VIEWS BY ALFRED HART

The titles are those used on the original cards published by Hart and checked against the album of Hart photographs in the Green Library at Stanford University, or the cards themselves. Spelling and punctuation are repeated exactly, except that words in brackets are the author's. "Miles" indicates distance from Front Street, Sacramento.(".0" after mile figure means estimated distance)


Hart
No. Miles Title Notes

1. 31 Locomotive "Gov. Stanford", No.1
2. 31 Trestle at Newcastle
3. 31 Depot and Trestle, at Newcastle [Lady at left]
4. 31.5 Road above Newcastle, Placer County
5. 32 Railroad in Dutch Ravine, looking West
6. 32 View in Dutch Ravine, 32 miles from Sacramento
7. 32 Embankment in Dutch Ravine, above Newcastle
8. 33 Approaching Bloomer Cut, from the West
9. 33 Bloomer Cut, 800 feet long, looking East
10. 33 Bloomer Cut, bird'seye view, 63 feet deep, 800 long.
11. 33 Bloomer Cut and Embankment, looking East.
12. 33 Bloomer Cut, 63 feet high, looking West.
13. 33 View in Bloomer Cut, near Auburn.
14. 33 In Bloomer Cut.
15. 34 Embankment 60 feet high in Buckeye Ravine.
16. 34.5 Cut West of Auburn.
17. 35 Rock Ravine, near Auburn.
18. 35 High Embankment, near Auburn.
19. 35 Trestle opposite Auburn.


Hart
No. Miles Title Notes

20. 35.5 Cut near Auburn Station, Placer County.
21. 35.5 Trains at Station, Auburn.
22. 36 Road East of Station, at Auburn.
23. 38 Road in Auburn Ravine, Placer County.
24. 37.0 Lime Point above Auburn.
25. 38 High Embankment, Auburn Ravine.
26. 39 Auburn Ravine.
27. 40 Trestle near Lovell's Ranch, 40 miles from Sacramento.
28. 40 Road and Trestle, near Lovell's Ranch.
29. 42 Trestle in Clipper Ravine, near Clipper Gap.
30. 42 Trestle Bridge, 120 feet high, 600 feet long, Clipper Ravine.
31. 42 Trestle Bridge, Clipper Ravine, near view.
32. 43 View above Clipper Gap, Placer County.
33. 55 Locomotive Nevada at Colfax. 55 miles
34. 55 Locomotive Atlantic at Colfax, Placer County.
35. 55 Depot at Colfax. 500 feet long. 55 miles from Sacramento.
36. 55 Colfax from the South, Altitude 2,448 feet.
37. 55 Teamster's Camp at Colfax, Placer County.
38. 56 Canyon of Amer. river from West--Cape Horn and RR on left.

Hart
No. Miles Title Notes

39. 56 Long Ravine Bridge, from top of Cape Horn.
40. 56 Long Ravine Bridge from the west. 56 miles from Sacramento.
41. 56 Long Ravine Bridge-near view [from west end]
42. 56 Long Ravine Bridge from below, 120 feet high.
43. 56 Cape Horn and Railroad from the West.

Height above ravine 1,400 feet.
44. 57 Amer. R. and canyon from Cape Horn-river below R.R 1400 feet. 57 miles from Sacramento.
45. 59 Sawmill and Cut east of Cape Horn. 59 miles from Sacramento
46. 61 Deep Cut at Trail Ridge. Length 1000 feet.
47. 62 Secrettown, 62 miles from Sacramento, elevation 3000 feet.
48. 62 Secrettown Trestle, from the West. Length 1,100 feet.
49. 62 Secrettown Trestle, from the East. Height 90 feet.
50. 63 Tunnel Hill Cut. Depth 111 feet. 63 miles from Sac'to
51. 63.5 Bear River Valley-You Bet and mines in the distance.
52. 63.5 Bear River Valley-Little York mines in the distance.
53. 64 Cut through "Dixie Spur"
54. 65 Gold Run and Railroad Cut. Altitude 3245 feet.

Hart
No. Miles Title Notes

55. 65 Railroad and Flume at Gold Run.
56. 57 Rounding Cape Horn. Road to Iowa Hill from the river, in the distance.
57. 58 Excursion Train at Cape Horn. 3 miles above Colfax.
58. 61 Secret Ravine, Iowa Hill in the distance. 61 miles from Sacramento.
59. 64.5 Hornet Hill Cut, west of Gold Run. 50 feet deep.
60. 64 Train in Dixie Cut.
61. 65 Hydraulic Mining at Gold Run, Placer County.
62. 66 Embankment below Dutch Flat, Placer County.
63. 67 Dutch Flat. Placer County. 67 miles from Sacramento.
64. 67 Dutch Flat Station. 67 miles from Sacramento. Altitude 3,416 feet.
65. 67.5 View near Dutch Flat.
66. 68 Sandstone Cut near Alta.
67. 69 Alta from the South. Altitude 3,350 feet.


Hart
No. Miles Title Notes

68. 69 Alta from the North. 69 Miles.
69. 69 The Huntington at Alta. [Locomotive]
70. 69.5 Blasting at Chalk Bluffs above Alta. Cut 60 feet deep.
71. 70 Building Bank across Canon Creek. 87 feet high.
72. 70.5 Culvert at Canyon Creek. 185 feet long-12 feet span.
73. 69.3 Cut above Alta.
74. 62 Secrettown Bridge, 1,100 feet long. 62 miles from Sacramento.
75. 69 Superintendent Strobridge and Family, at Alta.
76. 72 Giant's Gap, American River, 2,500 feet perpendicular 72 miles from Sacramento.
77. 72 Green Valley and Giant's Gap. American River. 1500 feet below Railroad.
78. 71 Green Bluffs, 1,500 feet above American River. 71 miles from Sacramento.
79. 75 View west of Prospect Hill. 75 miles from Sacramento.
80. 75 Prospect Hill from Camp 21. 75 miles from Sacramento.
81. 74 Little Blue Canyon. 74 miles from Sacramento.
82. 75 Prospect Hill Cut. Upper slope 170 feet.
83. 75 Prospect Hill Cut. from the north.
84. 75 View at China Ranch. 75 miles from Sacramento.
85. 76 Fort Point Cut. 70 feet, 600 feet long.

Hart
No. Miles Title Notes

86. 76 View North of Fort Point. 76 miles from Sacramento.
87. 77 Horse Ravine. 77 miles from Sacramento.
88. 77 Horse Ravine Wall and Grizzly Hill Tunnel. 77 miles from Sacramento.
89. 77 Grizzly Hill Tunnel from the North. 500 feet long.
90. 80 Bank and Cut at Sailor's Spur. 80 miles from Sacramento.
91. 80 Owl Gap Cut. 900 feet long, 45 feet deep.
92. 82 Heath's Ravine Bank. 82 feet high. 82 miles from Sacramento.
93. 91 Black Butte and Crystal Lake. 91 miles from Sacramento.
94. 91 Crystal Lake. Altitude 5907 feet.
95. 90 Crystal Lake House. 90 miles from Sacramento.
96. 91 Cascades on the Yuba River, near Crystal Lake.
97. 91 Rattlesnake Mountain and Cascades on the Yuba River near Cisco.
98. 92 Black Butte from the North.
99. 92 Lower Cisco, Placer County, 92 miles from Sacramento.
100. 92 Yuba Cascade and Hieroglyphic Rocks, on the Yuba River, near Crystal Lake.

Hart
No. Miles Title Notes

101. 92 Pictured Rocks on the Yuba River, near Crystal Lake.
102. 92 Hieroglyphic Rocks.
103. 92 Pictured Rocks.
104. 93 Yuba River, above Cisco, Placer County.
105. 96 New Hampshire Rocks on Yuba River, Summer View. 96 miles from Sacramento.
106. 96 New Hampshire Rocks on Yuba River, Summer View. 96 miles from Sacramento. [same as No. 105, but closer]
107. 96 New Hampshire Rocks looking down the river.
108. 96 Scene on Yuba River, above Cisco.
109. 100 Summit Valley, Altitude 6,960 feet. Emigrant Mt. and R.R. Pass in dist.["for CPRR" card says "from Lava Bluff"]
110. 100 Castle Peak from Lava Bluff. 11,000 feet above sea.
111. 102 Castle Peak and Yuba River, from Summit Valley. 102 miles from Sacramento.
112. 105 Scene near Donner Pass, Table Peak in the distance.
113. 105 Castle Peak from Grant's Peak.
114. 105 Scene at Lake Angela. Altitude 7,300 feet.
115. 105 Lake Angela, Mount King in the distance. Western Summit.
116. 105 Camp near Summit Tunnel Mt. King in the distance.
117. 105 Bluffs in Donner Pass, Western Summit, 500 feet high. Altitude of Pass 7090 feet.


Hart
No. Miles Title Notes

118. 105 Summit Tunnel-Eastern Portal. Length 1660 feet.
119. 105 Laborers and Rocks near opening of Summit Tunnel.
120. 105 Scene near Summit Tunnel. Eastern Slope of Western Summit.
121. 105 Grant's Peak and Palisade Rocks-From Summit.
122. 105.5 Palisade Rocks with Road and Teams descending Western Summit.
123. 105.5 Lakeview Bluff. 350 feet high. From the wagon road.
124. 106 Road and Rocks at foot of Crested Peak, Eastern Slope of Western Summit.
125. 105 Donner Lake from Summit, Lakeview Bluff on the right.
126. 105 Donner Lake from top of Tunnel Rock-3 miles distant.
127. 105 Donner Lake. Eastern Summits 25 miles

distant.
128. 115 Boating Party on Donner Lake.

Hart
No. Miles Title Notes

129. 115 Donner Lake. Crested Peak and Mt. Lincoln in distance.
130. 115 View on Donner Lake, Altitude 5,964 feet.
131. 117 Donner Lake, with Pass in distance, Altitude above Lake 1,126 feet.
132. 116 Donner Lake, Peak and Pass, from Wagon Road.
133. 117 Stumps Cut by the Donner Party in 1846, Summit Valley.
134. 17 Dry Creek Bridge, 17 miles from Sacramento.
135. 3 Locomotive on Trestle [at American River Bridge, 3/16/1865]
136. 23 Train and Curve-Jenny Lind Flat
137. 4 Bound for the Mountains-12 Mile Tangent. 4 Miles from Sacramento
138. 31 Freight Depot at Newcastle, Placer County. 31 miles from Sacramento
139. 31 Locomotive on Turntable

Hart
No. Miles Title Notes

140. 22 Rocklin Granite Quarry, 22 miles from Sacramento
141. 24 Tangent below Pino [Photographer's shadow at right--Pino is now called "Loomis"]
142. 30 Antelope Ridge, near Newcastle, 30 miles from Sacramento.
143. 26 Griffith's Granite Station.
144. 3 American River Bridge-400 feet long.
145. 31.5 Building Trestle at Newcastle, Placer County.
146. 24.5 Train on Embankment above Pino, with hand-car near.
147. 28 Train at Griffith's Station, Placer County
148. 3 View of American River Bridge, near view-3 miles from Sacramento.
149. 55 Colfax, looking West, Illinoistown in distance.
150. 55 Colfax looking West-Cape Horn and Giant's Gap.
151. 57 Cape Horn, from Ravine below.
152. 57 Cape Horn, from American River, Railroad 1400 feet above.
153. 71 Hog's Back Cut, 60 feet deep. 2 miles above Alta.
154. 72 American River, from Green Bluffs.
Hart
No. Miles Title Notes

155. 72 View of the Forks of the American River, 3 miles above Alta.
156. 75 Prospect Hill Cut, 150 feet deep, 74 feet wide.
157. 76 Railroad West from Fort Point.
158. 78 Across Blue Canyon, looking East.
159. 78 Blue Canyon Embankment-75 feet high.
160. 79 Blue Canyon-79 miles.
161. 79 Across Blue Canyon, looking West.
162. 80 Lost Camp Spur Cut, 80 miles from Sacramento.




Hart
No. Miles Title Notes

163. 84 Frame for Snow Covering, interior view.
164. 84 Emigrant Gap, Snow Plow and Turn Table.
165. 84.4 Emigrant Gap, West from Tunnel.
166. 84.4 Emigrant Gap Tunnel
167. 84.5 Emigrant Gap, looking East, Yuba Mountains in the distance.
168. 85 Bear Valley, 85 miles from Sacramento.
169. 88 Valley, North Fork of Yuba, above Emigrant Gap. Old Man Mountain.
170. 88 Cement Ridge, Old Man Mountain in distance.
171. 88 Miller's Bluffs-Old Man Mountain in dist.
172. 89 Echo Point, opposite Crystal Lake, looking West.
173. 89 Echo Point and Rattlesnake Mountains.
174. 90 Railroad, below Cisco and Crystal Lake.
175. 91 Foot of Black Butte [opposite Crystal Lake]
176. 91 Black Butte, 91 Miles from Sacramento. Hart
No. Miles Title Notes

177. 91 Crystal Lake and Railroad, from Black Butte.
178. 91 South Yuba Valley and Summits from Black Butte.
179. 98 Old Man Mountain, near Meadow Lake. Altitude 7,500.
180. 98 Meadow Lake, 6,800 elevation. Knickerbocker Hill and Old Man Mountain.
181. 92 North Fork of South Yuba, near Meadow Lake.
182. 92 "Oneonta" at Cisco.
183. 92 Main Street Upper Cisco, 5911 feet elevation.
184. 92 Upper Cisco, Rattlesnake and Yuba Mountains.
185. 92 Depots at Cisco, Altitude 5,900 feet.
186. 92 View of the South Yuba, below Cisco
187. 105 Summits of Sierras. 8,000 to 10,000 feet altitude.
188. 106 Castle Peak, a Western Summit, 10,000 feet altitude.
189. 105 Summit of Castle Peak 10,000 feet altitude.
190. 105 Summit of Castle Peak 10,000 feet altitude, from the Northwest.
191. 104 Summit Valley, from Emigrant Mountain, looking West.
192. 104 Anderson's Valley and Devil's Peak, from Emigrant Mountain. Western Summit.


Hart
No. Miles Title Notes

193. 104 Summit Station, Western Summit. [One mile above Norden, California.]
194. 104 Lakes in Anderson Valley, from Lava Bluff.
195. 105 American Peak, in Spring, View near the Pass, Western Summit.
196. 105 Shaft house over Summit Tunnel, American Peak in distance.
197. 105 Summit Tunnel, before completion: Western Summit-Altitude 7,042 feet.
198. 105 East portal Summit Tunnel. Length 1,660 feet.
199. 105 Wagon Road and East Portal of Summit Tunnel. Altitude 7,000 feet
200. 105 Bluff and Snow Bank in Donner Pass.
201. 105 Melting of a Snow Bank, Scene on the Summit in August
202. 105 East Portals of Tunnels Nos. 6 and 7, from Tunnel No. 8.
Hart
No. Miles Title Notes

203. 105 Donner Lake, Tunnels No. 7 and 8, from Summit Tunnel, Eastern Summit in distance.
204. 105 Heading of east portal Tunnel No. 8.
205. 116 Donner Lake and Crested Peak--Railroad Grade on Pollard's Hill
206. 113 Coldstream Valley, from Tunnel No. 13.
207. 115 Coldstream, Eastern slope of Western Summit.
208. 115 Coldstream Valley
209. 107 View from Crested Peak 8,500 feet altitude. Donner Lake and Railroad Line.
210. 92 Loaded Teams from Cisco [Sign says "Half Way House"]
211. 77 West Portal Tunnel No. 1, Grizzly Hill.
212. 93 North Fork of Yuba River, between Cisco and Meadow Lake.
213. 91 Snow Covering below Cisco.
214. 84 Emigrant Gap Ridge, 84 miles. Old Man Mountain, Red Mountain, Castle Peak, in distance.


Hart
No. Miles Title Notes

215. 84 Bear Valley and Yuba Canyon, from Emigrant Gap.
216. 73 View at Shady Run. 73 miles from Sacramento.
217. 92 All aboard for Virginia City, and the overland mail.
218. 93 Tunnel No. 3, above Cisco.
219. 92.5 View above Cisco, looking towards the Summit.
220. 118 Scene on the Truckee River, near Donner Lake.
221. 121 Truckee River below Truckee Station, looking west toward Donner Lake.
222. 121 Truckee River, below Truckee Station, looking towards Eastern Summit.
223. 121.5 Truckee River, approaching the Eastern Summits.
224. 133 First crossing of the Truckee River. 133 miles rom Sacramento. [Shadow, Hart's head]
225. 133 Bridge over First Crossing Truckee River. 204 feet long.[Shadow of camera and tripod]
226. 133 Interior of Bridge over First Crossing of the Truckee River.
227. 133.3 Profile Rock, near the First Crossing of the Truckee River.
228. 134 Truckee river entering the Eastern Summits.

Tunnel No.14. 134 miles.
229. 58 American River Bridge. Railroad around Cape Horn, 1400 feet above.

Hart
No. Miles Title Notes

230. 58 View on the American, below Cape Horn [from bridge to Iowa Hill]
231. 34 Bloomer Cut, near Auburn. 800 feet long and 65 feet high. [white photo wagon, RR car]
232. 22 Capital Granite Quarry at Rocklin. 22 miles from Sacramento.
233. 22 Cutting Granite at Rocklin, 22 miles from Sacramento.
234. 0 Railroad Wharves, at Sacramento City.
235. 0 J Street, Sacramento City. View from the Levee.
236. 133.8 Cathedral Rock. Camp 20
237. 105 Crested Peak, from Grant's Butte.
238. 117 Cloud View, Donner Lake
239. 92 Snow Plow, at Cisco
240. 22 Engine House and Train. Rocklin, 22 miles from Sacramento.
241. 22 Engine House and Turntable. Rocklin 22 miles from Sacramento.
242. 42 West of Clipper Gap, Placer County.
243. 43 Clipper Gap, 43 miles from Sacramento.
244. 49 Cut near New England Mills. 49 miles from Sacramento
245. 56 Railroad around Cape Horn. From the Canyon.
246. 107.6 Constructing Snow Cover. Scene near the Summit.
247. 90 Frame of Snow Covering, 90 miles from Sacramento.
248. 97.5 Lower Cascade. Near long side track.
249. 97.5 Lower Cascade Bridge. Above Cisco.
250. 98 Upper Cascade. 98 Miles from Sacramento.
251. 99 Upper Cascade Bridge. Above Cisco.
Hart
No. Miles Title Notes

252. 106.7 Snow Gallery around Crested Peak. Timbers 12x14 in.,20 in. apart.
253. 106.7 Crested Peak from Railroad. Roof of Snow Gallery.[The closer man identified as Arthur Brown in Huntington Library collection]
254. 106.7 Inside view of Snow Gallery at Summit. Bolting the Frame to the Rocks.
255. 107.5 From Tunnel No. 10 looking West. Building Great Wall across the Ravine.
256. 107.6 Crested Peak and Tunnel No. 10. Eastern Slope of Western Summit.
257. 108 Tunnel No. 12. Strong's Canyon.
258. 110 Castle Peak, from Railroad. Above Donner Lake.
259. 113.5 Coldstream Valley, Stanford's Mill
260. 116 Mist rising from Donner Lake. Early Morning View.
261. 116 Railroad around Crested Peak. View from foot of Donner Lake.
262. 119 Depot at Truckee. 119 miles from Sacramento.
263. 119 Scene at Truckee. Nevada County.
264. 120 Truckee River, at Truckee Station. 15 Miles from Lake Tahoe.
Hart
No. Miles Title Notes

265. 127 Boca. Crossing of Little Truckee.
266. 137.9 View of Truckee River. Near Camp 24.
267. 138 View near the [old] State Line, Truckee River.
268. 137.5 Boundary Peak and Tunnel No.15. 137 miles from Sacramento.
269. 137.4 Tunnel No.15. Looking East, toward Nevada.
270. 137.6 Tunnel No.15. Near Camp 24
271. 138 Bridge near State Line. 138 miles from Sacramento.
272. 138 Second Crossing of Truckee River. Near Camp 24.
273. 133 Bridge at Eagle Gap. Truckee River.
274. 133 Bridge over Truckee River, Eagle Gap.
275. 133 Eagle Gap, Truckee River.
276. 143 View near Verdi, Truckee River.
277. 140 Looking toward Verdi. Truckee River, 140 milesfrom Sacramento.
Hart
No. Miles Title Notes

278. 142 Bridge below Verdi.
279. 147 Fourth Crossing of Truckee River. 147 miles from Sacramento.
280. 150 Granite Quarry. Near Reno.
281. 152 Reno and Washoe Range in distance. From Base of Sierra Nevada Mountains
282. 154 Piute Squaws and Children at Reno.
283. 154 Piute Indians. [Seems same background as No. 282.]
284. 154 Freight Depots at Reno, 154 miles from Sacramento.
285. 154 Scene at Depot, at Reno
286. 154 Virginia Street, from the Bridge, Reno
287. 160 Entering Lower Canyon of Truckee River.


Hart
No. Miles Title Notes

288. 162 Looking across Truckee Meadows, toward Sierra Nevada Mountains, near Camp 37.
289. 162 Truckee Meadows. Sierra Nevada Mountains 20 miles distant.
290. 162 Truckee Meadows, from Camp 37, 162 miles from Sacramento.
291. 162 Scene near Camp 37
292. 164.0 Below Camp 37. Lower Canyon of Truckee.
293. 164.0 Crossing of Wagon Road. Lower Canyon of Truckee.
294. 165.0 Cottonwood Valley. Lower Canyon of Truckee.
295. 165.0 Scene on Bank of Truckee River. Lower Canyon of Truckee.[Seems taken from photo wagon in No. 294]
296. 174.0 Basaltic Rocks. Lower Canyon of Truckee.
297. 174.0 View from Basaltic Rocks, looking East.
298. 176 Limestone Point. Lower Canyon of Truckee.
299. 176 Truckee River and R.R. at Lime Point Sierra Nevada Mountains 35 miles distant.
300. 177.0 Pleasant Valley. Lower Canyon of Truckee.
301. 177.0 Pleasant Valley, looking West, Lower Canyon of Truckee River.
302. 177.0 Pleasant Valley, looking East. Lower Canyon of Truckee River.
303. 178 Red Bluffs, looking from the West

Lower Canyon of Truckee River. Lower Canyon of
304. 179 Looking West from Red Bluffs, Truckee River.
305. 179 Red Bluffs, Lower Canyon of Truckee, 179 miles from Sacramento.
306. 187 Truckee River, near Wadsworth, Lower Canyon of Truckee.
Hart
No. Miles Title Notes

307. 188 The Goliah, at Wadsworth. Big Bend of Truckee River.
308. 188 Wadsworth-Big Bend of Truckee R. Washoe Range in distance.
309. 188 Turntable at Wadsworth, 188 miles from Sacramento.
310. 232 Construction Train on Desert. near Humboldt Lake.
311. 233.0 Construction Train on Alkali Dessert. [Sic]
312. 233.0 Alkali Flat, Construction Train in distance.
313. 234 Chinese Camp, Brown's Station
314. 234 Brown's Station, 234 miles from Sacramento.
315. 235.0 Water Train, opposite Humboldt Lake.
316. 240.0 End of Track. On Humboldt Plains.
317. 235.0 End of Track, near Humboldt Lake.
318. 254 Lower Crossing of Humboldt River. 254 miles from Sacramento.
319. 325 Winnemucca Depot. 334 miles from Sacramento.
320. 325 Winnemucca Town and Peak, 334 miles [see fn. 139] from Sacramento.
321. 353 Advance of Civilization. End of Track, near Iron Point.
322. 354.0 Advance of Civilization. On Humboldt Desert.
323. 355.0 Shoshone Indians, looking at Locomotive on Desert.
324. 355.0 Shoshone Indians. Humboldt Plains.

Hart
No. Miles Title Notes

325. 355.0 Car of Sup't of Construction. End of Track.
326. 395 Argenta Station, at Skull Ranch, 395 miles from Sacramento.
327. 426.0 Chinese Camp, at End of Track
328. 428.0 Powder Bluff. West End of 10 mile Canyon.
329. 430 Second Crossing of Humboldt River. 430 miles from Sacramento.
330. 431.0 Commencement of a snow Storm. Scene East of

Second Crossing of Humboldt
331. 432 Sentinel Rock. Ten Mile Canyon.
332. 432.5 Team Camp-Evening View, End of Track.
333. 433.0 Curving Iron. Ten mile Canyon.
334. 434.0 Humboldt Gate. Ten Mile Canyon.
335. 434.0 Building Water Tank. Trout Creek Mountains in distance.
336. 435 Entering the Palisades, Ten Mile Canyon.
337. 435 The Palisades-10 Mile Canyon. 435 miles from Sacramento.
338. 435 First Construction Train passing the Palisades, Ten Mile Canyon.
339. 435 Alcove in Palisades, Ten Mile Canyon.
340. 435 Indian viewing R.R. from top of Palisades. 435 miles from Sacramento.

Hart
No. Miles Title Notes

341. 435 View across River and Canyon, from top of Palisades.
342. 435.0 Shoshone Indians. Ten Mile Canyon.
343. 396 Train at Argenta, 396 miles from Sacramento.
344. 445 Machine Shops at Carlin. 445 miles from Sacramento.
345. 445 Carlin from the Water Tanks, Looking West.
346. 468 Depot at Elko, 468 miles from Sacramento.
347. 468 Elko from the West. 468 miles from Sacramento.
348. 488 Water Tank at Peko. 488 miles from Sacramento.
349. 505 Scene near Deeth. Mount Halleck in distance.
350. 682 Railroad Camp near Victory.10-1/4 miles laid in one day.

Hart
No. Miles Title Notes
351. 669 Monument Point from the Lake, 669 miles from Sacramento [The Point itself was at 674 miles]
352. 669 Salt Lake from Monument Point. 669 miles from Sacramento.
353. 669 Poetry and Prose. Scene at Monument Point, North end of Salt Lake.
354. 690 The First Greeting of the Iron Horse. Promontory Point, May 9th, 1869.
355. 690 The Last Rail. The Invocation, Fixing the Wire, May 10,1869
356. 690 The Last Rail is Laid. Scene at Promontory Point, May 10th, 1869.
357. 690 The Rival Monarchs. Scene at Promontory Point, May 10th, 1869. [see also Fig. 26]
Hart
No. Miles Title Notes
358. 690 The Monarch from the West. Scene at Promontory Point, May 10th, 1869. [see also Fig. 24]
359. 690 The Monarch from the East. Scene at Promontory Point, May 10th, 1869.
360. 690 The Last Act-690 Miles from Sacramento. Scene at Promontory Point, May 10th, 1869.
361. 740 Looking West from Taylor's Mills. Near Ogden.
362. 740 Taylor's Mills, Wasatch Range. Near Ogden.
363. 742 Ogden and Wahsatch [sic] Range, 742 miles from Sacramento.
364. 742 Railroad at Ogden, Wahsatch [sic] Range in distance.

[ A copy in the Huntington Library collection identifies the man in the tall hat at right as

the English capitalist, William Blackmore.]





APPENDIX C

Geographical List

(Arranged by miles from Sacramento)


of

Alfred Hart's CPRR Stereo Views





GEOGRAPHICAL LIST OF CPRR STEREOGRAPHS
BY ALFRED HART

Some titles are shortened in this list. For full title see Appendix B. "Miles" indicates miles from Front street, Sacramento.
(".0" after mile figure means estimated distance)

Hart
No. Miles Title Notes

234. 0 Railroad Wharves, at Sacramento City.
235. 0 J Street, Sacramento City. View from the Levee.
148. 3 View of American River Bridge, near view- 3 miles from Sacramento.
135. 3 Locomotive on Trestle [3/16/1865]
144. 3 American River Bridge-400 feet long.
137. 4 Bound for the Mountains-12 Mile Tangent. 4 Miles from Sacramento.
134. 17 Dry Creek Bridge, 17 miles fr. Sacramento.
233. 22 Cutting Granite at Rocklin, 22 miles from Sacramento.
232. 22 Capital Granite Quarry at Rocklin. 22 miles from Sacramento.
241. 22 Engine House and Turntable. Rocklin 22 miles from Sacramento.
140. 22 Rocklin Granite Quarry, 22 miles from Sacramento.
240. 22 Engine House and Train. Rocklin, 22 miles. 136. 23 Train and Curve-Jenny Lind Flat.
141. 24 Tangent below Pino [Photographer's shadow at right].
146. 24.5 Train on Embankment above Pino, with hand-car near.
Hart
No. Miles Title Notes

147. 26 Train at Griffith's Station, Placer County
143. 26 Griffith's Granite Station.
142. 30 Antelope Ridge, near Newcastle, 30 miles from Sacramento.
2. 31 Trestle at Newcastle.
139. 31 Locomotive on Turntable.
138. 31 Freight Depot at Newcastle, Placer County. 31 miles.
1. 31 Locomotive "Gov. Stanford" No.1.
3. 31 Depot and Trestle, Newcastle. [Lady at L].
145. 31.5 Building Trestle at Newcastle, Placer County.
4. 31.5 Road above Newcastle, Placer County.
7. 32 Embankment in Dutch Ravine, above Newcastle.
6. 32 View in Dutch Ravine, 32 miles from Sacramento.
5. 32 Railroad in Dutch Ravine, looking west.
13. 33 View in Bloomer Cut, near Auburn.
14. 33 In Bloomer Cut.
12. 33 Bloomer Cut, 63 feet high, looking west.
231. 33 Bloomer Cut, near Auburn. 800 feet long, 63 feet high.
10. 33 Bloomer Cut, bird'seye view, 63 feet deep, 800 long.
Hart
No. Miles Title Notes

8. 33 Approaching Bloomer Cut, from the West.
11. 33 Bloomer Cut and Embankment, looking E.
9. 33 Bloomer Cut, 800 feet long, looking East.
15. 34 Embankment 60 feet high in Buckeye Rav. 16. 34.5 Cut West of Auburn.
18. 35 High Embankment, near Auburn.
19. 35 Trestle opposite Auburn.
17. 35 Rock Ravine, near Auburn.
20. 35.5 Cut near Auburn Station, Placer County.
21. 35.5 Trains at Station, Auburn.
22. 36 Road East of Station, at Auburn.
24. 37.0 Lime Point above Auburn.
23. 38 Road in Auburn Ravine, Placer County.
25. 38 High Embankment, Auburn Ravine.
26. 39 Auburn Ravine.
28. 40 Road and Trestle, near Lovell's Ranch.
27. 40 Trestle near Lovell's Ranch, 40 miles.
242. 42 West of Clipper Gap, Placer County.
31. 42 Trestle bridge, Clipper Ravine, near view.
30. 42 Trestle Bridge, 600 feet long, Clipper Ravine.
29. 42 Trestle in Clipper Ravine, nr. Clipper Gap.
32. 43 View above Clipper Gap, Placer County.
243. 43 Clipper Gap, 43 miles from Sacramento.
244. 49 Cut near New England Mills. 49 miles.
37. 55 Teamster's Camp at Colfax, Placer County.
36. 55 Colfax from the South, Altitude 2,448 feet.
149. 55 Colfax, looking West, Illinoistown in dist.
150. 55 Colfax looking West-Cape Horn and Giant's Gap.
35. 55 Depot at Colfax. 500 feet long.

Hart
No. Miles Title Notes

33. 55 Locomotive Nevada at Colfax. 55 miles.
34. 55 Locomotive Atlantic at Colfax, Placer County.
41. 56 Long Ravine Bridge-near view [from west].
42. 56 Long Ravine Bridge from below, 120 feet high.
43. 56 Cape Horn and Railroad from the West.
40. 56 Long Ravine Bridge from the west. 56 miles from Sacramento.
38. 56 Canyon of Amer. River from west.

Cape Horn and RR on left.
39. 56 Long Ravine Bridge, from top of Cape Horn.
245. 56 Railroad around Cape Horn. From the Canyon.
56. 57 Rounding Cape Horn. Road to Iowa Hill from the river, in distance.
151. 57 Cape Horn, from Ravine below.
44. 57 Amer. R. and canyon from Cape Horn--

river below R.R 1400 feet, 57 miles.
152. 57 Cape Horn, from American River, Railroad 1400 feet above.
57. 58 Excursion Train at Cape Horn. 3 miles above Colfax.
230. 58 View on the American, below Cape Horn [from bridge].
229. 58 American River Bridge. Railroad around Cape Horn.
45. 59 Sawmill and Cut east of Cape Horn. 59 miles from Sacramento.
58. 61 Secret Ravine, Iowa Hill in the distance. 61 miles from Sacramento.
46. 61 Deep Cut at Trail Ridge. Length 1000 feet.

Hart
No. Miles Title Notes

47. 62 Secrettown, 62 miles from Sacramento.
48. 62 Secrettown Trestle, from the West. Length 1,100 feet.
49. 62 Secrettown Trestle, from the East. Height 90 feet.
74. 62 Secrettown Bridge, 1,100 feet long.
50. 63 Tunnel Hill Cut. Depth 111 feet. 63 miles from Sacramento.
52. 63.5 Bear River Valley-Little York mines in the distance.
51. 63.5 Bear River Valley-You Bet and mines in the distance.
60. 64 Train in Dixie Cut.
53. 64 Cut through "Dixie Spur."
59. 64.5 Hornet Hill Cut, west of Gold Run. 50 feet deep.
61. 65 Hydraulic Mining at Gold Run, Placer County.
55. 65 Railroad and Flume at Gold Run.
54. 65 Gold Run and Railroad Cut. Alt.3245 feet.
62. 66 Embankment below Dutch Flat, Placer Co. 65. 67.5 View near Dutch Flat.
66. 68 Sandstone Cut near Alta.
64. 67 Dutch Flat Station. 67 miles.
63. 67 Dutch Flat. Placer County. 67 miles.
68. 69 Alta from the North. 69 Miles.
69. 69 The Huntington at Alta.[Locomotive].
75. 69 Superintendent Strobridge and Family, at Alta.
Hart
No. Miles Title Notes

67. 69 Alta from the South. Altitude 3,350 feet.
68. 69.1 Alta from the North, 69 miles.
73. 69.3 Cut above Alta.
70. 69.5 Blasting at Chalk Bluffs above Alta. Cut 60 feet deep.
71. 70 Building Bank across Canon Creek. 87 feet high.
72. 70.5 Culvert at Canyon Creek. 185 feet long-12 feet span.
78. 71 Green Bluffs, 1,500 feet above American River. 71 miles from Sacramento.
153. 71 Hog's Back Cut, 60 feet deep. 2 miles above Alta.
154. 72 American River, from Green Bluffs.
155. 72 View of the Forks of the American River, 3 miles above Alta
76. 72 Giant's Gap, American River, 2,500 feet perpendicular.
77. 72 Green Valley and Giant's Gap. American River. 1500 below.
216. 73 View at Shady Run. 73 miles.
81. 74 Little Blue Canyon. 74 miles from Sacramento.
80. 75 Prospect Hill from Camp 21. 75 miles.
84. 75 View at China Ranch. 75 miles.
83. 75 Prospect Hill Cut. from the north.
156. 75 Prospect Hill Cut, 150 feet deep, 74 feet wide.
82. 75 Prospect Hill Cut. Upper slope 170 feet.
Hart
No. Miles Title Notes

79. 75 View west of Prospect Hill. 75 miles from Sacramento.
85. 76 Fort Point Cut. 70 feet, 600 feet long.
157. 76 Railroad West from Fort Point.
86. 76 View North of Fort Point. 76 miles from Sacramento.
88. 77 Horse Ravine Wall and Grizzly Hill Tunnel. 77 miles from Sacramento.
87. 77 Horse Ravine. 77 miles from Sacramento.
211. 77 West Portal Tunnel No. 1, Grizzly Hill.
89. 77 Grizzly Hill Tunnel from the North. 500 feet long.
159. 78 Blue Canyon Embankment 75 feet high.
158. 78 Across Blue Canyon, looking East.
161. 79 Across Blue Canyon, looking West.
160. 79 Blue Canyon-79 miles.
90. 80 Bank and Cut at Sailor's Spur. 80 miles from Sacramento.
91. 80 Owl Gap Cut. 900 feet long, 45 feet deep.
162. 80 Lost Camp Spur Cut, 80 miles from Sacramento.
92. 82 Heath's Ravine Bank. 82 feet high.
214. 84 Emigrant Gap Ridge, 84 miles. Old Man Mountain, Red Mt.& Castle Peak in dist.
164. 84 Emigrant Gap, Snow Plow and Turn Table.
163. 84 Frame for Snow Covering, interior view.
215. 84 Bear Valley and Yuba Canyon, from Emigrant Gap.
166. 84.4 Emigrant Gap Tunnel
Hart
No. Miles Title Notes

165. 84.4 Emigrant Gap, West from Tunnel.
167. 84.5 Emigrant Gap, looking East, Yuba Mountains in distance.
168. 85 Bear Valley, 85 miles from Sacramento.
169. 88 Valley, North Fork of Yuba, above Emigrant Gap.
170. 88 Cement Ridge, Old Man Mountain in dist. 171. 88 Miller's Bluffs Old Man Mountain in dist.
173. 89 Echo Point and Rattlesnake Mountains.
172. 89 Echo Point, opposite Crystal Lake, looking West.
95. 90 Crystal Lake House. 90 mi. fr. Sacramento.
247. 90 Frame of Snow Covering, 90 miles from Sacramento.
174. 90 Railroad, below Cisco and Crystal Lake.

Yuba River.
175. 91 Foot of Black Butte. [opposite Crystal Lake]
96. 91 Cascades on the Yuba River, near Crystal Lake.
94. 91 Crystal Lake. Altitude 5907 feet.
93. 91 Black Butte and Crystal Lake. 91 miles.
213. 91 Snow Covering below Cisco.
97. 91 Rattlesnake Mountain and Yuba Cascades.
178. 91 South Yuba Valley and Summits from Black Butte.
177. 91 Crystal Lake and Railroad, from Black Butte.
176. 91 Black Butte, 91 Miles from Sacramento.
181. 92 North Fork of South Yuba, near Meadow Lake.
Hart
No. Miles Title Notes

182. 92 "Oneonta" at Cisco.
184. 92 Upper Cisco, Rattlesnake and Yuba Mts.
210. 92 Loaded Teams from Cisco [Sign says "Half Way House"].
185. 92 Depots at Cisco, Altitude 5,900 feet.
217. 92 All aboard for Virginia City, and the overland mail.
239. 92 Snow Plow, at Cisco.
186. 92 View of the South Yuba, below Cisco.
183. 92 Main Street Upper Cisco, 5911 feet elevation.
102. 92 Hieroglyphic Rocks.
98. 92 Black Butte from the North.
101. 92 Pictured Rocks on Yuba R. near Crystal L.
103. 92 Pictured Rocks.
99. 92 Lower Cisco, Placer County, 92 miles.
100. 92 Yuba Cascade and Hieroglyphic Rocks, on the Yuba River.
219. 92.5 View above Cisco, looking to the Summit.
218. 93 Tunnel No. 3, above Cisco.
212. 93 North Fork of Yuba River, between Cisco and Meadow Lake.
104. 93 Yuba River, above Cisco, Placer County.
105. 96 New Hampshire Rocks on Yuba River, Summer View. 96 mi. from Sacramento.
107. 96 New Hampshire Rocks looking down the river.
106. 96 New Hampshire Rocks on Yuba River, Summer View. 96 miles.
108. 96 Scene on Yuba River, above Cisco.
Hart
No. Miles Title Notes

180. 98 Meadow Lake, 6,800 elevation: Knickerbocker Hill & Old Man Mtn.
179. 98 Old Man Mountain, near Meadow Lake. Altitude 7,500.
249. 98.5 Lower Cascade Bridge. Above Cisco.
248. 98.5 Lower Cascade. Near long side track.
250. 99 Upper Cascade. 98 Miles from Sacramento.
251. 99 Upper Cascade Bridge. Above Cisco.
109. 100 Summit Valley, Altitude 6,960 feet. Emigrant Mountain.
110. 100 Castle Peak from Lava Bluff. 11,000 feet above sea.
111. 102 Castle Peak and Yuba River, from Summit Valley. 102 miles from Sacramento.
193. 104 Summit Station, Western Summit [Now Donner Ski Ranch parking lot].
191. 104 Summit Valley, from Emigrant Mountain, looking West.
192. 104 Anderson's Valley and Devil's Peak, from Emigrant Mountain.
194. 104 Lakes in Anderson Valley, from Lava Bluff.
116. 105 Camp near Summit Tunnel Mount King in the distance.
115. 105 Lake Angela, Mount King in the distance. Western Summit.
118. 105 Summit Tunnel-Eastern Portal. Length 1660 feet.
125. 105 Donner Lake from Summit, Lakeview Bluff on the right.
Hart
No. Miles Title Notes

117. 105 Bluffs in Donner Pass, Western Summit, 500 feet high.
119. 105 Laborers and Rocks near opening of Summit Tunnel.
121. 105 Grant's Peak and Palisade Rocks-From Summit.
112. 105 Scene near Donner Pass, Table Peak in the distance.
126. 105 Donner Lake from top of Tunnel Rock.
113. 105 Castle Peak from Grant's Peak.
114. 105 Scene at Lake Angela. Altitude 7,300 feet.
127. 105 Donner Lake. Eastern Summits 25 mi. dist.
196. 105 Shaft house over Summit Tunnel, American Peak in dist.
197. 105 Summit Tunnel [interior], before completion.
199. 105 Wagon Road and East Portal of Summit Tunnel. Alt. 7000 feet.
195. 105 American Peak, in Spring, View near the Pass, Western Summit.
190. 105 Summit of Castle Peak 10,000 feet altitude, from the northwest.
120. 105 Scene near Summit Tunnel. Eastern Slope of Western Summit.
187. 105 Summits of Sierras. 8,000 to 10,000 feet alt.
189. 105 Summit of Castle Peak 10,000 feet altitude.
200. 105 Bluff and Snow Bank in Donner Pass.
198. 105 East portal Summit Tunnel. Length 1,660'.
203. 105 Donner Lake, Tunnels No. 7 and 8, from Summit Tunnel.
Hart
No. Miles Title Notes

204. 105 Heading of east portal Tunnel No. 8.
237. 105 Crested Peak, from Grant's Butte.
201. 105 Melting of a Snow Bank, Scene on the Summit in August.
202. 105 East Portals of Tunnels Nos. 6 and 7, from Tunnel No. 8.
122. 105.5 Palisade Rocks with Road and Teams descending Western Summit.
123. 105.5 Lakeview Bluff. 350 feet high. From the wagon road.
124. 106 Road and Rocks at foot of Crested Peak, Eastern Slope.
188. 106 Castle Peak, a Western Summit, 10,000' alt.
252. 106.7 Snow Gallery around Crested Peak. Timbers 12 x 14 in., 20 inches apart.
254. 106.7 Inside view of Snow Gallery at Summit. Bolting the frame to the rocks.
253. 106.7 Crested Peak from Railroad. Roof of Snow Gallery.
209. 107 View from Crested Peak 8,500 feet altitude. Donner Lake and RR line.
255. 107.5 From Tunnel No. 10 looking West. Building Wall across the ravine.
246. 107.6 Constructing Snow Cover. Scene near the Summit.
256. 107.6 Crested Peak and Tunnel No. 10.
257. 109 Tunnel No. 12. Strong's Canyon.
258. 110 Castle Peak, from Railroad. Above Donner Lake.
Hart
No. Miles Title Notes

206. 113 Coldstream Valley, from Tunnel No. 13.
259. 113.5 Coldstream Valley, Stanford's Mill
130. 115 View on Donner Lake, Altitude 5,964 feet.
129. 115 Donner Lake. Crested Peak and Mount Lincoln in distance.
128. 115 Boating Party on Donner Lake.
207. 115 Coldstream, Eastern slope of W. Summit.
208. 115 Coldstream Valley.
260. 116 Mist rising from Donner Lake. Early Morning View.
261. 116 Railroad around Crested Peak. View from foot of Lake.
132. 116 Donner Lake, Peak and Pass, from Wagon Road.
205. 116 Donner Lake and Crested Peak--Railroad Grade on Pollard's Hill.
131. 117 Donner Lake, with Pass in distance, Altitude above Lake 1126 feet.
133. 117 Stumps Cut by the Donner Party in 1846, Summit Valley.
238. 117 Cloud View, Donner Lake.
220. 118 Scene on the Truckee River, nr. Donner Lake.
262. 119 Depot at Truckee. 119 miles from Sacramento.
263. 119 Scene at Truckee. Nevada County.
264. 120 Truckee River, at Truckee Station. 15 Miles from Lake Tahoe.
222. 121 Truckee River, below Truckee Station, looking toward Eastern Summit.
Hart
No. Miles Title Notes

221. 121 Truckee River below Truckee Station, looking west
223. 121.5 Truckee River, approaching the Eastern Summits.
265. 127 Boca. Crossing of Little Truckee.
274. 133 Bridge over Truckee River, Eagle Gap.
275. 133 Eagle Gap, Truckee River.
273. 133 Bridge at Eagle Gap. Truckee River.
226. 133 Interior of Bridge over First Crossing of the Truckee River.
224. 133 First crossing of the Truckee River. 133 miles from Sacramento.
225. 133 Bridge over First Crossing Truckee River. 204 feet long.
227. 133.3 Profile Rock, near the First Crossing
236. 133.8 Cathedral Rock. Camp 20.
228. 134 Truckee river entering the Eastern Summits. Tunnel 14.
269. 137.4 Tunnel No.15. Looking East, to Nevada.
268. 137.5 Boundary Peak and Tunnel No.15. 137 miles from Sacramento.
270. 137.6 Tunnel No.15. Near Camp 24.
266. 137.9 View of Truckee River. Near Camp 24.
271. 138 Bridge near State Line. 138 miles.
267. 138 View near [old] State Line, Truckee River.
272. 138 Second Crossing of Truckee River. Near Camp 24.
277. 143 Looking toward Verdi. Truckee R.,140 mi.
278. 142 Bridge below Verdi.
Hart
No. Miles Title Notes

276. 143 View near Verdi, Truckee River.
279. 147 Fourth Crossing of Truckee River. 147 miles.
280. 150 Granite Quarry. Near Reno.
281. 152 Reno and Washoe Range in distance.
286. 154 Virginia Street, from the Bridge, Reno
285. 154 Scene at Depot, at Reno.
282. 154 Piute Squaws and Children at Reno.
283. 154 Piute Indians.
284. 154 Freight Depots at Reno, 154 miles.
287. 160 Entering Lower Canyon of Truckee River.
290. 162 Truckee Meadows, from Camp 37, 162 miles.
291 162 Scene near Camp 37.
289. 162 Truckee Meadows. Sierra Nevada Mountains.
288. 162 Looking across Truckee Meadows.
293. 164.0 Crossing of Wagon Road. Lower Canyon of Truckee River.
292. 164.0 Below Camp 37. Lower Can.. of Truckee.
295. 165.0 Scene on Bank of Truckee River.
294. 165.0 Cottonwood Valley. Lower Canyon of Truckee River.
296. 174.0 Basaltic Rocks. Lower Canyon of Truckee.
297. 174.0 View from Basaltic Rocks, looking East.
299. 176 Truckee River and R.R. at Lime Point.
298. 176 Limestone Point. Lower Canyon of Truckee River.
302. 177.0 Pleasant Valley, looking East. Lower Canyon.
300. 177.0 Pleasant Valley. Lower Canyon.
301. 177.0 Pleasant Valley, looking West, Lower Canyon of Truckee River.
Hart
No. Miles Title Notes

303. 178 Red Bluffs, looking from the West.
305. 179 Red Bluffs, Lower Canyon of Truckee, 179 miles from Sacramento.
304. 179 Looking West from Red Bluffs.
306. 187 Truckee River, near Wadsworth, Lower Canyon of Truckee River
309. 188 Turntable at Wadsworth, 188 miles from Sacramento.
308. 188 Wadsworth-Big Bend of Truckee R. Washoe Range in distance.
307. 188 The Goliah, at Wadsworth. Big Bend of Truckee River.
310. 232 Construction Train on Desert. Near Humboldt Lake.
312. 233.0 Alkali Flat, Construction Train in distance.
311. 233.0 Construction Train on Alkali Dessert.[sic.]
314. 234 Brown's Station, 234 miles from Sac'to.
313. 234 Chinese Camp, Brown's Station.
317. 235.0 End of Track, nr. Humboldt Lake.
315. 235.0 Water Train, opposite Humboldt Lake.
316. 240.0 End of Track. On Humboldt Plains.
318. 254 Lower Crossing of Humboldt River. 254 miles from Sacramento.
320. 325 Winnemucca Town and Peak, 334 [sic] miles.
319. 325 Winnemucca Depot. 334 miles.
321. 353 Advance of Civilization. End of Track, near Iron Point.
322. 354.0 Advance of Civilization. On Humboldt Desert.
Hart
No. Miles Title Notes

325. 355.0 Car of Sup't of Construction. End of Track.
323. 355.0 Shoshone Indians, looking at Locomotive on Desert.
324. 355.0 Shoshone Indians. Humboldt Plains.
326. 395 Argenta Station. at Skull Ranch, 395 miles.
343. 396 Train at Argenta, 396 miles from Sac'to
327. 426.0 Chinese Camp, at End of Track
328. 428.0 Powder Bluff. West End of 10 mile Can.
329. 430 Second Crossing of Humboldt River. 430 miles.
330. 431.0 Commencement of a Snow Storm. Scene East of Second Crossing of Humboldt.
331. 432 Sentinel Rock. Ten Mile Canyon.
332. 432.5 Team Camp-Evening View, End of Track.
333. 433.0 Curving Iron. Ten mile Canyon.
335. 434.0 Building Water Tank., Trout Creek Mountains
334. 434.0 Humboldt Gate. Ten Mile Canyon.
341. 435 View across Canyon, from top of Palisades.
340. 435 Indian viewing R.R. from top of Palisades.
342. 435.0 Shoshone Indians. Ten Mile Canyon.
336. 435 Entering the Palisades, Ten Mile Canyon.
337. 435 The Palisades-10 Mile Canyon. 435 miles
338. 435 First Construction Train passing the Palisades, Ten Mile Canyon.
339. 435 Alcove in Palisades, Ten Mile Canyon.
345. 445 Carlin from the Water Tanks, Looking West.
344. 445 Machine Shops at Carlin. 445 miles.
347. 468 Elko from the West. 468 miles from Sac'to.
346. 468 Depot at Elko, 468 miles from Sacramento
348. 488 Water Tank at Peko. 488 miles from Sac'to.

Hart
No. Miles Title Notes

349. 505 Scene near Deeth. Mount Halleck in dist.
353. 669 Poetry and Prose. Scene at Monument Point, North end Great Salt Lake.
352. 669 Salt Lake from Monument Point. 669 miles from Sacramento.
351. 669 Monument Point from the Lake.
350. 682 Railroad Camp near Victory. 10-1/4 miles laid in one day.
354. 690 The First Greeting of the Iron Horse. Promontory.
360. 690 The Last Act-690 Miles from Sacramento. Scene at Promontory.
359. 690 The Monarch from the East. Scene at Promontory point.
358. 690 The Monarch from the West. Scene at Promontory Point.
357. 690 The Rival Monarchs. Scene at Promontory Point.
355. 690 The Last Rail. The Invocation. Fixing the Wire.
356. 690 The Last Rail is Laid. Scene at Promontory Pt.
362. 740 Taylor's Mills, Wasatch. Near Ogden.
361. 740 Looking West from Taylor's Mills. Near Ogden.
364. 742 Railroad at Ogden. Wasatch Range in distance.
363. 742 Ogden and Wahsatch Range. 742 miles from Sacramento.

END OF SERIES



Click for APPENDIX D


Public Sources

of

Alfred Hart's CPRR Stereo Views






NOTES ON PUBLIC SOURCES LISTED FOR HART STEREOGRAPHS


All the negatives were taken by Hart, and if published by Hart are marked "H". Other publishers of Hart negatives are shown
as follows: D = Frank Durgan, L = Lawrence & Houseworth, P = Whitney & Paradise, and W = C.E. Watkins.


BANCROFT LIBRARY: Located on the Campus of the University of California at Berkeley. The stereographs can only be viewed at the reading room; photographic copies can be made by the library.

CROCKER ART MUSEUM: Located in Sacramento. Very cooperative staff, but visitor viewing of stereographs takes a lot of staff time. Best to use as back-up source. Copies by contractor to Museum. File numbers run from 1870.25 to 1870.242. There are some variations of same view.

CALIFORNIA STATE LIBRARY: Located in Sacramento: Filed in the California Room. Watkins and Hart stereographs housed separately. Full library facilities. Staff best informed on Hart and very cooperative. (viewing room, copy facilities, and some copy negatives already prepared).

HUNTINGTON LIBRARY: Located at San Marino, CA. Stereographs in Rare Book Department. Staff very cooperative with full facilities. Copy negatives of many stereos available. Collections viewed by appointment.

UNIVERSITY OF NEVADA LIBRARY: Located at Reno. Stereographs in Special Collections. Staff very knowledgeable and cooperative. Full facilities and some copy negatives on hand. The collection is, of course, strongest in views of northern Nevada.



LIBRARY OF CONGRESS: Located in Washington D.C. Stereographs are in Prints and Photographs Division. Majority of their collection was submitted for copyright purposes and is of exceptional quality. As one would expect from the world's largest library, full facilities available. Staff very helpful. Filed in Lot number 11477 and arranged by Hart's numbers.

NEW YORK PUBLIC LIBRARY: Fifth Avenue and 42nd St. New York City. Stereograph file numbers start with NYPG-92 F(108) or NYPG-92 F(102). Although only 53 Hart numbers are in the collection, some are very rare.. Full facilities and very helpful.

Stereographs in the following checklist marked * were copied for Appendix A. In lines where no asterisk appears, copies were made from the author's or unlisted collections.

Where two letters are shown, they are not duplicates. They indicate one is a variant of the usual Hart view, or the title or mount is a variation. Lawrence & Houseworth stereographs shown are from the exact negatives published by Hart in his regular series. Although not included in this listing, large collections of single or half stereo prints from Hart negatives are located at the Stanford University Library, the Library of the Society of California Pioneers and the Huntington Library.
LOCATIONS OF HART RAILROAD STEREOS
BL=Bancroft Library, CAM=Crocker Art Museum, CSL=California State Library, HL=Huntington Library, UN= University of Nevada Library, LC= Library of Congress,

NYL=New York Public Lib., PRIVATE COLLECTIONS: S=Barry A. Swackhamer Collection K=Author"s Collection
PUBLISHED BY: H= by Hart, W=by Watkins, P= by Whitney & Paradise, D= by Durgan, L= by Lawrence & Houseworth
VIEWS MARKED WITH AN ASTERISK ARE USED IN APPENDIX A


APPENDIX E

Glenn Willumson's Article on Hart

Alfred Hart: Photographer of the Central Pacific Railroad

by

Glenn L. Willumson





History of Photography (London),
(January/March, 1988), Volume 12, No. 1, pp. 61-75.
Reprinted by kind permission of History of Photography


From 1864 to 1869 the construction of the first transcontinental railroad was systematically documented in photographs by Alfred A Hart.' As official photographer of the Central Pacific Railroad (CPRR) he carefully photographed from the railhead at Sacramento, California, to the celebration of the completion of the rail line at Promontory, Utah (figure 1). In spite of the acknowledged importance of his documentation, little has been known about the life of the photographer, and some of what has been published is factually inaccurate.' Details of Hart's somewhat checkered and adventurous career as a photographer provide a new appreciation for his photographic accomplishments. Trained as a painter in New England, he was an influential figure in the development of Western landscape photography.'

Alfred Hart was born in Norwich, Connecticut, on 28 March, 1816, the second child of Eliphaz and Eliza Hart. His father was a silversmith working in the shop of his older brother, Judah Hart, a respected silver craftsman of the period.' In 1838, Alfred Hart moved to New York City, where he continued art studies begun in his home town of Norwich.' The exact nature of his early art training is unclear, although there is some evidence that it may have included formal art study.6 Returning to Norwich in 1840, he married and began a career as an itinerant portrait painter (figure 2).

Two examples from this early period, painted portraits of Katherine and Martha Kendrick, display the formalistic style of the travelling limner painter (figures 3 and 4). The canvases appear to have been painted largely in the studio and finished on commission. Apart from colour, the girl's dresses are identical, as are the position of the body, the style of the hair, and the treatment of the hands, shoulders, and ear. The only individuality the portraits show is in the two girls' faces and the flowers they hold. Special attention is paid to the treatment of the eyes and the mouth in an effort to communicate a sense of each girl's character.

In 1848 Hart moved his family to Hartford, the state capital of Connecticut. There is no documentation regarding the reason for the move, but probably the growing numbers of travelling daguerreotype photographers, who could offer an exact likenesses at modest cost, provided stiff competition for an itinerant portrait painter.' By moving to Hartford, Hart was able to avail himself of other commercial outlets for his talent and to expand into other artistic genres.

While continuing to paint portraits, he took up a new form of middle class art and entertainment, the moving panorama. What distinguished the moving panorama from earlier panoramic paintings was its combination of sound, special lighting and moving pictures. The finished painting consisted of a narrative sequence on long wide canvas. The latter was stretched between two large spools, hidden by curtains on either side of the stage (figure 5). The canvas was advanced from one reel to the other in front of an audience, stopping at each 'frame', while a lecturer, accompanied by music and light effects, described each scene's significance .8 Visits to moving panoramas were popular during the period - New York City newspapers advertised five different and simultaneous presentations in October 1852, for example.

Alfred Hart specialized in religious panoramas, the second of which, New Testament and Scenes from the Holy Land, was taken to New York City and exhibited in October 1852. The New York Herald advertisement of Hart's painting demonstrates the showmanship that accompanied the exhibition of moving panoramas:

Professor Hart's Great Moving Panoramic Mirror of the New Testament and Scenes in the Holy Land, has arrived and will be on exhibition at the Lecture Room, in the Chinese Building no. 511 Broadway, for a few days commencing on Monday evening, October 18 - This great and magnificent work of art, the largest in the world, has been painted at an immense outlay of money, and has never been equalled in the interest it has excited, or the favor with which it has been received. Prof. Hart will deliver lectures descriptive of the painting. Appropriate music will accompany the Exhibition for particulars see programmes . . . 9 Photography was a natural outgrowth of Hart's work with the moving panorama - both the moving panorama and photography were commercial art forms involving highly technical apparatus and serving the needs of an emerging middle class. The popular interest in panoramic painting, and in photography, had enticed other American painters. Samuel F. B. Morse, a promising painter in the early years of the American Republic, began his career as a European trained artist and later turned to photography."' When he returned to the USA in 1815/1816, he travelled as an itinerant portraitist in New Hampshire, turning later in his career to monumental canvases, precursors to the moving panorama. Morse travelled with these large paintings, charging admission to his exhibitions. Discouraged by public apathy to his themes, Morse gave up painting in 1838. In 1839 he was in Paris when Daguerre made his dramatic announcement about the invention of photography. Morse, interested in the scientific advancement exemplified by the process, announced the invention in a letter to the New York Observer and, on his return to USA, became a practising amateur daguerreotypist. For Alfred Hart it was economic necessity, rather than intellectual fascination, that turned him to photography."

In 1857 he entered into partnership with a prominent Hartford daguerreotype photographer, Henry H. Bartlett." judging from their advertisement the partnership was intended to combine Hart's painterly talents and Bartlett's photographic ones.

It stated: Bartlett & Hart have facilities for making a greater variety of fine pictures than any other establishment in the State. Photographs in oil colours upon canvas or paper.' 3 It is difficult tojudge the public interest in Hart's re-painted photographs, only one extant oil portrait seems to be the result of this partnership." But even if these commissions were few, Hart was undoubtedly also important to the firm as a retoucher and tinter of photographs." It seems likely that during this time he also learned the technique of photography and may have helped as an operator.

The partnership was, however, a brief one, and by the early 1860s Hart had moved his family to Cleveland, Ohio. There he opened an art store selling looking glasses, picture frames, and engravings." By 1863, Alfred Hart had resumed his vocation as an itinerant portraitist, but now the camera had replaced the canvas. While maintaining an art supply business in Cleveland, Hart travelled through California mining towns advertising in local newspapers (figure 6).17 In 1864, his Cleveland store reflected this activity and his interest in photographic views. It advertised 'Photographic Stock' -presumably accumulated in the West. 18

The extent of Hart's earliest work in California photography is difficult to determine, as many of his images are unaccredited.19 The record of his business transactions with the CPRR, and evidence of his work for the San Francisco photo- publishers Lawrence & Houseworth, however, demonstrates the significance of his photographic activity. This record suggests that Alfred Hart was already an established photographer when the CPRR purchased 32 negatives from him in January 1866.

ALFRED HART'S WORK FOR THE CPRR

The Company's interest in photography had begun at least a year earlier. A small newspaper article in January 1865 noted:

Photogarphic (sic) - The Central Pacific Railroad Company is having taken a series of photographic views of the more interesting points on the line of the road. Yesterday the artist took views of the 'Bloomer Cut' and also of Newcastle. The work will be continued till (sic) all the views of interest are taken. 20

It is known that on 18 March, 1865, one William Dickman was paid by the CPRR 'for making one view of/bridge across American River/One view of Bloomer Cut'." Presumably, then, he was the author of the views mentioned in the newspaper article. However, considering the railroad construction a noteworthy event, and a commercially exploitable one, the San Francisco firm of Lawrence & Houseworth also sent their photographer to take pictures of the new railroad. In the summer of 1865, the CPRR directors bought over 500 of these stereoscopic prints from Lawrence & Houseworth." In January, 1866, the directors purchased 32 stereoscopic negatives from Alfred Hart, and from then on Hart seems to have been the official photographer of the CPRR .23

The first negatives purchased from Hart were sent to New York City where Collis Potter Huntington, the CPRR vice-president, had them printed by the firm of Whitney and Paradise. The label on the verso of these stereographs contains the first publicized credit of Alfred Hart as the Company photographer. It reads: NEGATIVES BY A.A. HART./Published by Whitney & Paradise, 585 Broadway, New York. It was unusual for such a clear credit line to be given and it suggests that Hart may already have worked out a clear arrangement with the company. As company photographer Hart was granted special privileges by the directorate, apparently including transportation for his travelling wagon (figure 7), and the authority to stop the railroad construction whenever he needed to compose his picture. In exchange he provided the CPRR with negatives from which the Company directors selected the official CPRR series of 364 stereographic photographs.

The man responsible for the selection was the company attorney, judge Edwin Bryant Crocker. judge Crocker was given his choice of Hart's negatives, and he enthusiastically endorsed Hart's photographs. Crocker wrote to Huntington:

I inclose (sic) some stereoscopic views recently taken - with a descriptive list. The no's. you will find on the back of the views in a corner. Some of them were taken while considerable sun still remained on the high points. As a work of Art they cannot be surpassed."

Crocker's interest in 'Art', however, had its practical side. There is no doubt that the CPRR photographs were inextricably tied to the Company's promotional efforts. In 1867 Crocker paid for woodcuts to be made from ten of the CPRR photographs and, then, to be published in the San Francisco Sunday Mercury. He intended to have the wood blocks sent to the East Coast where he suggested Hunting-ton have them republished. Huntington, however, brusquely dismissed Crocker's suggestion as uneconomical: As to the proposition of the S. F. 'Sunday Mercury' to print views, &c., we to pay $40 each for engraving, &c.; I think it would not pay, as we are not selling any securities in Cal. and the paper is not taken on this side, and I do not think that the Harpers would republish it, and Leslie is only taken by women and children."

Despite Huntington's disdain, Crocker had the woodcuts made and the images were published in Harper's Weekly on 7 December, 1867.26 These photographs stressed the aspects of the CPRR series that were important to the company - the difficulty of construction, proof of success, and the dramatic and picturesque quality of the landscape (figures 8 and 9).

Not only reproductions but the mounted prints, too, became instruments of company policy. In the summer of 1867, both the Central Pacific and the Union Pacific Railroads pushed towards Utah. Officials from both companies went to Salt Lake City in search of Mormon support and labour. A set of stereographs accompanied the Central Pacific delegation and Crocker related their importance to Huntington:

I sent a full set of our views by Richardson to Brigham Young + he was highly pleased with them. He [Brigham Young] had some from the Union Pacific, but they did not compare to ours." With his photographs acting as early railroad publicity, it is not surprising that one finds Alfred Hart associated with other aspects of railroad promotion. In 1869, he published a map of the western end of the transcontinental railroad. Entitled The Traveller's Map of the Central Pacific Railroad of California and its connectionsfrom the Pacific Ocean to the Great Salt Lake, it provided important details for the traveller such as the distance between stations, stage connections, and the general topography of the landscape. 18 Furthermore, we know from a later edition of the map that it was lavishly illustrated with woodcut engravings made from Hart's stereographs.29

In 1870 he began an even grander project. A Traveller's Own Book served as a complete guide of the railroad journey from Chicago to San Francisco, not only providing a description of the natural beauty of the trip, but suggesting, also, the best accommodations along the route.' Like the map, the book was illustrated, this time with chromolithographs made from Hart's CPRR photographs and supplemented with Union Pacific Railroad views by Andrew J. Russell. This was an early form of the guide book that proliferated in the 1870s and 1880s. However, Hart's own book was not widely distributed and, as a result, may not have been a major influence on later travel books of the transcontinental journey. 31 1

ALFRED HART'S WORK FOR LAWRENCE & HOUSEWORTH

Hart's negatives of the CPRR that were not purchased by the railroad were often sold to Lawrence & Houseworth, a San Francisco optical firm which had branched into the merchandising of photographs and stereographs. In fact there is evidence that Hart's first commercial work was done for that firm. When Alfred Hart first began working as an itinerant photographer, Lawrence & Houseworth was aggressively expanding into the photographic publishing business. Because neither George Lawrence nor Thomas Houseworth were photographers, they advertised for negatives in local newspapers throughout Northern California: 'Wanted - Stereoscopic Negatives of every place of interest on the Pacific Coast for which a fair price will be paid'." Lawrence & Houseworth's first company photographer appears to have been Charles L. Weed, the first man to photograph the Yosemite Valley."" He worked for the firm until February 1865, when he left California and sailed to Hawaii. This forced Lawrence & Houseworth to rely principally on a new photographer for stereographic negatives between 1865 and 1867.34 That photographer, in this writer's opinion, was Alfred Hart. Evidence of his early association with the firm as well as duplicate and variant images of the CPRR negatives demonstrate Alfred Hart's extensive work for Lawrence & Houseworth between 1864 and 1869.

Seeking to enlarge their existing stock of negatives, Lawrence & Houseworth sponsored a photographic expedition into the Sierra Nevada mountains, Yosemite, and the Sequoia Big Trees in 1864. There is evidence that both Charles Weed and Alfred Hart were among the expedition members.'-' A stereograph published in 1866 by Lawrence & Houseworth clearly shows 'ALFRED HART NY' carved in a section of the Sequoia Big Tree in Calaveras County and demonstrates Hart's presence in the area about the time of the Lawrence & Houseworth expedition. 16 Variants of photographs published by Alfred Hart of Yosemite and the Big Trees can be found in Lawrence & Houseworth negative stock, but the strongest evidence of Hart's early work for the firm is in the CPRR photographs.

Sixteen negatives from the CPRR series were first published by Lawrence & Houseworth, and 15 of them were later sold to the CPRR by the firm .3' These photographs were among the almost 1000 negatives that were added to the firm's sales catalogue after the 1864 photographic expedition through California. When they were incorported into the CPRR series, the negatives were credited to Alfred Hart.

The stylistic evidence of the same unusual camera viewpoint, used on three different occasions, supports this attribution; (figures 10 and I I are examples). In both of these views the photographer placed his camera and tripod on the cab of the locomotive. This gave the viewer, especially when seen in the three dimensionality of the stereoscope, a sense of the onrushing speed of the locomotive. There are also clear examples of later photographs first pubished by Alfred Hart for the CPRR and later re-published by Lawrence & Houseworth without credit to the cameraman.

170. Cement Ridge, Old Man Mountain in distance (figures 12 and 13) was published by Hart in two different versions. The location and composition are similar, but in figure 13 the camera is set farther away from the locomotive and the scene includes two men on top of the box cars. Shortly after its publication by Hart the first negative was sold to the CPRR and the second to Lawrence & Houseworth who retitled it: 1266. Cement Ridge near Crystal Lake, on the Central Pacific Railroad. Old Man Mountain in the distance.

There are variants of photographs in the CPRR series that were never published by Hart, but were sold directly to Lawrence and Houseworth. 1098. Grading the Central Pacific Railroad - Sailor's Spur and Fill, 12 miles above Alta, Placer Co. (figure 14) is compositionally and iconographically similar to Hart's published photograph of the same subject, 90. Bank and Cut at Sailor's Spur. 80 miles from Sacramento (figure 15). In fact, they appear to have been photographed within minutes of each other and share a similar concern for composition. In both images a branchless tree separates the railway graders who struggle, ant-like, to fill a gap in the side of the mountain. Both images provide a panoramic viewpoint that places the construction in its environmental context.

Alfred Hart worked for his commercial clients, the CPRR and Lawrence & Houseworth, at the same time. His primary allegiance seems to have been to judge Crocker and the CPRR, but Hart also sold nearly identical views to Lawrence & Houseworth. Interestingly, the CPRR did not object to this practise, only insisting on the right of first selection. It is possible that in the first years of Hart's documentation they may even have encouraged this duplication, viewing it as increased publicity.

Apart from working for two different corporate employers, Hart also pursued small private commissions. He travelled in a wagon specially built for photography, with dark-room facilities and storage for chemicals and glass plates. Every summer between 1865 and 1868 he rode through the Sierra Nevada mountains taking photographs of the railroad (figure 16) and advertising his skills as a photographer. His 1868 trip over the Sierras can be documented by his newspaper advertisements in that traded on his association with the Railroad. 'Stereoscopic views of the Central Pacific Railroad' read the July headline in the Placer Herald. 18 His August advertisement in the Reno Crescent made even more explicit use of his railroad connection for personal promotion.

ALL ABOARD FOR THE PHOTOGRAPH GALLERY

. . . Come in time, and do not loose (sic) this opportunity of getting a good Photograph of yourself and family, as I shall only remain a few days. No one is expected to receive a picture which does not please them. Call Immediately and see the Stereoscopic views of the Central Pacific Railroad. All pictures at Sacramento prices. Views of residences, etc., executed in a superior manner.39 Hart prospered under this arrangement. In April 1869, as official photographer for the CPRR, he joined the dignitaries aboard CPRR president Leland Stanford's special train to the celebration at Promontory, Utah, of the transcontinental railroad's completion (figure 17). Immediately after his return, Hart sold 21 negatives of the Promontory excursion to the CPRR. In June 1869, he was awarded the first prize at the California State Fair for 'the best uncoloured photograph 140 and he opened a studio that he lavishly advertised in the Sacamento Business Directory." His photo-processing business boomed as the CPRR, undoubtedly anticipating a huge tourist demand, ordered over 7000 stereographic prints between June and October 1869 .42 But by the end of the year this thriving commercial venture ended.

By 1869, Alfred Hart must have been relying increasingly on the CPRR for business. Not only had their purchases been steadily increasing but Thomas Houseworth began to buy negatives from different sources." As a result, when the CPRR commissions ceased, Hart was financially devastated. It is likely, by the way, that this change was a result of the departure of Hart's principal patron, judge E. B. Crocker, from the railroad's Board of Directors. After suffering a stroke in 1869, judge Crocker resigned from the CPRR directorate and without such high-placed patronage, Hart was soon replaced by the boyhood friend of Collis P. Huntington, Carleton E. Watkins." Although Hart's negatives were never again the commercial success of the late 1860s, Watkins continued to sell them under his own name until their destruction in the San Francisco earthquake of 1906.45

ALFRED HART'S LATER CAREER

Little is known about Alfred Hart's activities during the years immediately following his departure from the CPRR. During that time he seems to have given up photography, and travelled on the newly opened railroad line." Moving to Denver he opened a studio for painted portraits, as is indicated by an article in the Rocky Mountain News:

Mr. Hart, an artist of merit, late of St. Louis, but who has located in Denver to make it his home, has been here a couple of months, Mr. Hart's specialty is portrait painting. His rooms are over Martin & Nuckolls' store, Larimer Street, where he will be pleased to see our citizens."

He is not listed, however, in the Denver City Directory and in the summer of 1872 moved back to California.

Here he entered a group of paintings in the art competition at the California State Fair. In June 1872, judges at the Fair awarded him the gold medal for portraiture and the first prize for the 'Most Meritorious Exhibition of Paintings' (figure 18). The gold medal for landscape had been awarded earlier to William Keith, but Hart's statement to the judges seems to have convinced them of the merit of his entries. He argued that William Keith's paintings were 'unfinished in many respects' after which he continues by articulating the aesthetic criteria by which he felt paintings should be judged;

Any painting, to be entitled to high rank as a work of art, must not only be finished in the sense that leaves nothing more to be added to its composition in the way of thoroughly elucidating the story intended to be told by the artist. It should tell the story at a glance. It should represent nature in a grand manner in her most beautiful and attractive forms and colours . . . Unity of effect and story are as important to the painter of an epic landscape, and certainly require as much power in the originating mind of the artist who designs and paints it, as is involved in the writing of a drama." His insistence on idealization clearly demonstrates Hart's romantic attitude toward the landscape.

The scarcity of paintings attributed to Hart, however, makes stylistic evaluation difficult. The few examples extant from this period are uneven. Some show a careful rendition of detail (figure 19) and provide evidence of his skill as a painter; others appear hastily painted, broad brush strokes of colour barely covering the raw canvas. It is possible that these latter products are the result of commercial demands for quick, cheap landscape paintings.49 Given Hart's limner background, and specialization in portraiture, he was hardly the man to succeed In a facile commercial style, however. We know that Hart's medal brought him little financial success and reviews of his work were mixed.

During the 1872 to 1878 period, Alfred Hart lived in San Francisco and annually exhibited at the San Francisco Art Association as well as in commercial galleries. He continued to exhibit narrative tableaux but it appears his limner painting style was poorly suited to the rendition of the human body. One critic for the San Francisco Newsletter commented:

At Snow & Roos' (San Francisco) gallery there is a picture of 'The First Temptation', by Mr. Hart, which has completed our conversion to the Darwinian theory . . . We can account for the expulsion; such a pair indeed ought not merely to have been expelled from the garden - they should have been strangled ere the deed was perpetrated . . . Is this artist aware that the Holy

Book expressly speaks of Adam as created in the image of God? Hart, sin no more! In the good old times, they would have burned you at the stake for such a libel."

His pure landscapes, however, may have been more carefully painted as a San Francisco Chronicle review is more laudatory, calling them:

the product of years of study, toll and observation in half the States of the Union, on hill and plain, in wood and valley, by lake and mountain stream . . . Among the lot are several studies of high Sierra scenery, accurate in outline and warm and sympathetic in colouring . . .51

Hart seems to have enjoyed little commercial success and in May 1875, he auctioned many of his paintings." Soon afterwards he left San Francisco and moved to New York City. Directories both in New York and San Francisco, for the next 25 years most often list Alfred Hart as a landscape and portrait painter. Nevertheless, he retained an interest in photography. In New York City he was a dealer in photographic materials during 1878-1879, and, returning to San Francisco the following year, he was an artist for the photographic firm of Showers and Betancue. In June 1881, he patented a design for a folding magic lantern .53 Seven years later, in January 1888, he patented a process for the reproduction of photographs that required an artist to retouch the projected half-tone negative. 14 Like many pioneer photographers, Alfred Hart's last years appear to have been spent in poverty. He was supported, at least in part, by his daughter, Lillie, and his son, Charles .55 He is last noted in the New York Business Directory of 1905-1906 when, at the age of 89, he appears as 'a publisher of artistic blueprints'. He returned to California and died in the Alameda County Infirmary on 5 March, 1908, 23 days before his ninety-second birthday.

In examining the life of Alfred Hart one gains an appreciation for the economics of early photography. Because it was a commercially exploitable medium, photographs were often controlled by a business organization. This fact makes infinitely more complex the question of artistic authorship. For example, it was the publishing firm of Lawrence & Houseworth, and not a photographer, which was honoured with a bronze medal at the Paris Exposition of 1867. This award, the first international recognition of Western landscape photographs, played an important role in the history of American photography.56 Yet neither George Lawrence nor Thomas Houseworth was the photographer. As we have seen, the photographs in the exhibition, at least most of the 341 stereographs, were largely the work of Alfred Hart." Yet because of the economics of early photography, it was the business organization that was recognized and awarded the medal. As a result, Alfred Hart's influence and artistic talent as a photographer have remained unnoticed. This is one of the great tragedies of Hart's life, a life that undeservedly ended in obscurity*

ACKNOWLEDGEMENTS

I would like to gratefully acknowledge research support from the University of California Regents and the Northern California Locomotive and Railway Association. Many individuals assisted me with my research but in particular I would like to thank: Mr. John L. J. Hart, great grandson of Alfred Hart, for providing me with details regarding his genealogical research; Mrs S. Hart Moore, who painstakingly examined the Hart family papers for references to Alfred Hart; Ms. Pauline Grenbeaux, photohistorian, formerly at the California State Railroad Museum, for sharing a wealth of accumulated research on Alfred Hart; and Mr. Peter Palmquist who provided valuable suggestions and assisted me throughout my research.

REFERENCES AND NOTES

1 . Alfred Hart's middle name is unknown. Although he often used his middle initial, no document lists his full name. Mr. John Hart has suggested it may have been Armstrong, the maiden name of Alfred's mother and the middle name of Alfred's older brother, Oliver.

2. The two main sources for information about Alfred Hart are C. Terrill, 'An Early California Photographer: C. E. Watkins', News Notes of California Libraries, 13 (January 1918), p. 29ff; and W. Naef and J. Wood, Era of Exploration: The Rise of Landscape Photography in the American West, 1860-1885, New York Graphic Society, Boston (1975), p. 45ff.

3. For a discussion of photographic aesthetics in Western landscape photography, see Era of Exploration (note 2).

4, Craftsman and Artists of Norwich, Converse Art Gallery, Norwich, Connecticut (1965) include silver crafted by both Judah and Eliphaz Hart.

5. H. W. French, Art and Artists in Connecticut, Lee & Shepard, Boston (1879), p. 88.

6. An 1876 inventory of the artist's daughter Lillie Hart Stone includes a crayon drawing by Alfred Hart of Judith and Hoifernes (sic) with the note: Medal at Art Academy Exhibition.

7. For a discussion of the success of the daguerreotype in America see R. Rudisill, Mirror Image: The Influence of the Daguerreotype on American Society, University of New Mexico Press, Albuquerque (1971).

8. The most complete discussion of the moving panorama is found in L. Parry, 'Landscape Theater in America', Art in America, 59 (November/December 1971), p. 53ff.

9. New York Herald (16 October, 1852), p. 7, c. 5. This citation

is courtesy of J. E. Arrington, and found in G. Croce and D. Wallace, New- York Historical Society's Dictionary of Artists in America, Yale University Press, New Haven (1957), p. 296.

10. Biographical information on Morse can be found in: Samuel F B. Morse: Educator and Champion of the Arts in America, National Academy of Design, New York (1982).

11. The photographer of the Union Pacific Railroad, Andrew J. Russell, was also a painter who turned later to photography. Although not as accomplished a painter as Hart, Russell also painted panoramas before turning to photography shortly before the Civil War. (This information courtesy of Ms. Susan Williams, former curator of the Andrew J. Russell Archive at the Oakland Museum and currently at the Doe Library, University of California, Berkeley).

12. For a list of Bartlett's partnerships see F. and M. Rinhart, The American Daguerreotype, University of Georgia Press, Athens, Georgia (1981), p. 382; and S. Fuller, 'Checklist of Connecticut Photographers, by Town: 1839-1889', Connecticut Historical Society Bulletin, 47 (Winter 1982), p. 126.

13. Hartford City Directory (1858-1859), p. 293. (Citation courtesy of Pauline Grenbeaux).

14. One extant example of this collaboration is Hart's portrait of Governor Alexander Hamilton Holley currently in the collection of the Connecticut Historical Society. The painting does not seem to have the rigid geometry of Hart's earlier portraits. The date of the painting, 1857, corresponds to the beginning of the Bartlett & Hart partnership and the Connecticut Historical Society's accession record of the painting contains a genealogical researcher's note 'enlarged from a photograph'. The location of such a photograph is unknown but a daguerreotype by Bartlett of the Governor's wife, Sarah Coit Day, also in the collection of the Connecticut Historical Society, establishes a connection between Governor Holley, Henry Bartlett, and Alfred Hart.

15. The union of the painter and the photographer is discussed in M. A. Root, The Camera and the Pencil, (1864); Reprint: Helios Press, Pawlet, Vermont (1971).

16. Cleveland City Directory (1863-1864), p. 17.

17. Hart's advertisement appeared early in the season just as the snow was melting. See: La Porte Mountain Messenger (20 June, 1863). (Citation courtesy of Mr. Mead Kibbey).

18. Cleveland City Directory (1864-1865), p. 91. The logo on the reverse of many of Hart's early stereographs, 'The World as Seen in California', suggests a commercial outlet outside the State.

19. Mr. John Hart has correspondence that indicates Alfred Hart moved to California alone and was later joined by his son, Charles. Hart's wife and daughters apparently remained in Cleveland, as Baker's Cleveland Directory lists Alfred Hart as a resident until 1869 when the family moved to Denver, Colorado.

20. Stanford University Archives, Leland Stanford Scrapbook A, p. 33.

21. CPRR Voucher Series, Southern Pacific Collection, California

State Railroad Museum, 25 March, 1865, voucher 249. At that time William Dickman was in the employ of the Nahl Brothers, one of whom, Charles Nahl, was one of the finest Western genre painters of the period. (Citation courtesy of Mr. Peter Palmquist). 22. Ibid., 7 July and 31 August, 1865, vouchers 734 and 1507. 23. Ibid., 2 January, 1866, voucher 2. This is the first payment voucher from the CPRR to Alfred Hart for photographic work. From a strictly commercial standpoint the exclusive use of Alfred Hart is puzzling. On 2 January, 1866, the CPRR paid Alfred Hart $5.00 per negative for 32 negatives but on 29 January, 1866, the company bought 15 negatives from Lawrence & Houseworth paying $4.00 per negative. Presumably, one reason they employed Hart was because he charged them $2.50 for finished prints, $1.00 per dozen less than Lawrence & Houseworth. 24. Collis P. Huntington Papers, 1856-1901, California State Railroad Museum, (Microfilm), 2 August, 1867, E. B. Crocker to Collis P. Huntington. 25. Ibid., 23 August, 1867, Collis P. Huntington to E. B. Crocker. Huntington's reference is to the two competing New York illustrated weekly magazines: Harper's Weekly and Leslie's Illustrated Weekly. 26. CPRR Voucher Series, (see note 21), 30 December, 1867, voucher 1354. My efforts to locate a copy of the San Francisco Sunday Mercury have been unsuccessful. 27. Collis P. Huntington Papers, (see note 24), 2 August, 1867, E. B. Crocker to Collis P. Huntington.

28. Evidence of an early edition of the map comes from a catalogue card in the Los Angeles Public Library. The map itself is missing from the collection.

29. For a study specific to this map see P. Palmquist, 'Alfred A. Hart and the Illustrated Traveller's Map of the Central Pacific Railroad', Stereo World, 6 January/February 1980), pp. 14ff. (Citation courtesy of Ms. Pauline Grenbeaux).

30. Hart's book is rare but can be found in the Beinecke Library, Yale University; California Historical Society, San Francisco; Bancroft Library, University of California, Berkeley; and Library of Congress.

The photographs chosen for illustration and the quality of the illustrations vary from one printing to the next. Although widely varying in quality, style, and usage, chromolithography is a printed-colour lithograph in which the image is composed of at least three colours, each applied from a separate stone. For further information see: P. Marzio, The Democratic Art, David Godine, Boston (1979).

31. For example: H. T. Williams, The Pacific Tourist, New York (1879).

32. La Porte Mountain Messenger (June, 1863). This is the same month that Alfred Hart advertised his services in the newspaper. (Citation courtesy of Mr. Mead Kibbey).

33. P. Palmquist, 'California's Peripatetic Photographer: Charles Leander Weed', California History, 58 (Fall 1979), p. 207ff.

34. P. Palmquist, Lawrence & Houseworth/ Thomas Houseworth.- A Unique View of the West, National Stereoscopic Association, Columbus, Ohio (1980), p. 42, note 24.

35. For a treatment of the evidence regarding Weed's participation on the expedition see: Ibid., p. 13.

36. See: 910[a] Section of the Original Big Tree, Near view, Mammoth Grove, Calaveras County. (Information courtesy of Mr. Paul Hickman, University of New Mexico).

37. When incorported into the Hart CPRR Series they were

numbered 33, 34, 35, 36, 37, 38, 41, 50, 65, 134, 135, 137, 139, 143, 145, 148. These rare examples can be found in the collections of the Stanford University Archives and the California State Library. 38. Placer Herald (4 July, 1868), p. 3, c. 1. 39. Reno Crescent (I August, 1868), p. 2, c. 3.

40. Transactions of the California State Agricultural Society (1869), p. 206.

41. Sacramento Business Directory (1870), p. 159.

42. CPRR Voucher Series, (see note 21).

43. When George Lawrence retired in 1868, Thomas Houseworth assumed full control of the business. In the face of increasing competition, Houseworth committed himself and his financial resources fully to maintaining the firm's

preeminent position in photo- publishing. To do this he employed several photographers in place of the one or two the firm had previously used. See: Lawrence & Houseworth, (see note 34), p. 29f.

44. The first mention of Carleton Watkins in the Central Pacific voucher series is on 31 October, 1870. This is not in payment for photographic work, however, but an advance of 50 dollars. CPRR Voucher Series, (see note 21), 31 October, 1870, voucher 963. The CPRRs first purchase of photographs from Watkins was in March 1871.

45. Although he incorrectly asserts that Watkins bought the negatives from Hart, Charles Terrill mentions Watkins' control of the negatives, and subsequent destruction of Watkins' studio (see note 2). This information is updated in P. Palmquist, Carleton E. Watkins: Photographer of the American West, University of New Mexico Press, Albuquerque (1983), p. 36, 47f.

46. Hart is noted as travelling west through Omaha, Nebraska on the transcontinental railroad on 3 October, 1870. See: L. Rasmussen, Ship and Rail Series, Colma, California (n. d.), p. 43.

47. Rocky Mountain News (8 September, 1869), p. 3, c.2.

48. Transactions of the California State Agricultural Society (1872), p. 175f. (Citation courtesy of Ms. Pauline Grenbeaux).

49. A discussion of the painting of quick, inexpensive paintings in the West can be found in D. Miller, California Landscape Painting, 1860-1885: Artists Around Keith and Hill, Stanford University Art Gallery, Palo Alto (1975), p. 22ff.

50. San Francisco and California Advertiser (18 October, 1873), p. 4, c. 2. 51. San Francisco Chronicle (25 May, 1875), p. 3, c. 8.

52. An article the day following the sale commented: 'The sale of Alfred Hart's paintings at Newhall & Co. yesterday was not as well attended nor as successful as it should have been, considering the general merit of the collection. The aggregate amount of money realized was $1,350'. (San Francisco Chronicle, 27 May, 1875, p. 3, c. 4).

53. Alfred Hart, Letters Patent No. 242,823 (14 June, 1881), p. 1. (Citation courtesy of Mr. John L. J. Hart). 54. Alfred Hart, Letters Patent No. 376,802 (24 January, 1888), p. I (Citation courtesy of Mr. John L. J. Hart).

55. Personal correspondence, Charles N. Hart to Lillie Hart Stone, 18 December, 1888, and 14 December, 1904. (Citation courtesy of Mrs. S. Hart Moore).

56. The importance of this award in the history of Western landscape photography is discussed in Era of Exploration, (see note 2), p. 35.

57. For a discussion of the exhibit and a listing of the subject matter of the stereographs see: Lawrence & Houseworth, (see note 34), p. 27.

Willumson Figure 1

Figure 1. Alfred A. Hart, 357. The Rival Monarchs. Scene at Promontory Point 10 May, 1869, Half-stereo c. 7.9 x 10.3 in. (Stanford University Archives, Palo Alto, California

Willumson Figure 2

Figure 2. Unknown, Portrait of Alfred A. Hart, c. 1845, Sixth plate daguerreotype, 7 x 8.3 cm. (Colorado Historical Society, Jerome Family Collection, Denver, Colorado)

Willumson Figure 3

Figure 3. Alfred Hart, Miss Martha Kendrick, c. 1844, oil on canvas, 76.2 x 63.5 cm. (The Mattatuck Museum, Waterbury, Connecticut)

Willumson Figure 4

Figure 4. Alfred Hart, Miss Katherine Kendrick, c. 1844, oil on canvas, 76.2 x 63.5 cm. (The Mattatuck Museum, Waterbury, Connecticut)

Willumson Figure 5

Figure 5. Diagram of the machinery for John Banvard's "Moving Panorama of the Mississippi", from Scientific American (16 December, 1848)

Willumson Figure 6

Figure 6. Advertisement from La Porte Mountain Messenger (18 July, 1863)

Willumson Figure 7

Figure 7. Alfred Hart, 167. Emigrant Gap, Looking East, Yuba Mountains in Distance (detail), Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 8

Figure 8. Alfred Hart, 70. Blasting at Chalk Buffs above Alta, Cut 60 feet deep, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 9

Figure 9. Alfred Hart, 339. Alcove in Palisades, Ten Mile Canyon, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 10

Figure 10. Alfred Hart, 137. Bound for the Mountains, 12 Mile Tangent - 3 Miles from Sacramento, Half-stereo c. 7.9 x l0.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 11

Figure 11. Alfred Hart, 56. Rounding Cape Horn. Road to Iowa Hill from the River, in the Distance, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 12

Figure 12. Alfred Hart, 170. Cement Ridge, Old Man Mountain in Distance, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 13

Figure 13. Alfred Hart, 170. Cement Ridge, Old Man Mountain in Distance, (illustrated) Half-stereo c. 7.5 x 7.7 cm. (image) (Crocker Art Museum, Sacramento, California).

When published by Lawrence & Houseworth retitled, 1266. Cement Ridge Near Crystal Lake, on the Central Pacific Railroad. Old Man Mountain in the Distance, Half-stereo c. 7.9 x 10. 3 cm. (Society of California Pioneers, San Francisco, California)

Willumson Figure 14

Figure 14. Lawrence & Houseworth, 1098. Grading the Central Pacific Railroad - Sailor's Spur and Fill, 12 Miles above Alto, Placer Co., Half-stereo c. 7.9 x 10.3 cm. (Society of California Pioneers, San Francisco, California)

Willumson Figure 15

Figure 15. Alfred Hart, 90. Bank and Cut at Sailor's Spur. 80 Miles from Sacramento, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 16

Figure 16. Alfred Hart, 120. Scene near Summit Tunnel, Eastern Slope of Western Summit, Half-stereo c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California)

Willumson Figure 17

Figure 17. Alfred Hart, 357. The Last Rail is Laid. Promontory Point, Utah May 10, 1869, Half-stereo, c. 7.9 x 10.3 cm. (Stanford University Archives, Palo Alto, California). Leland Stanford, the President of the CPRR stands in the centre of the photograph, holding the sledge-hammer above his head.

Willumson Figure 18

Figure 18. Alfred Hart, Scene from 'The Deerslayer', 1866, oil on canvas, 75.5 x 62.5 cm. (Private Collection)

Willumson Figure 19

Figure 19. Alfred Hart, Lake Study, 1885, oil on canvas, 55.5 x 75.9 cm. (Private Collection)

 


APPENDIX F


Transposing and Some Stereo-Camera Details


TRANSPOSING, STEREO CAMERA DETAILS, and DARK TENTS

To achieve the correct perception of depth in stereo photography, objects which are closer must have a smaller optical spacing than those that are in the distance. If one holds up a pencil at arms length, it will appear to move to the left against the background when viewed with the right eye alone and to the right when viewed with the left eye alone. With both eyes open the pencil appears closer than the background because the images sent to the eyes by the pencil have been displaced inward and therefore are gauged closer than images received from objects in the background. The images received from the two prints on a stereo-card must duplicate this for depth to be perceived. The remarkably small changes in the converging angle for human eyes at various distances, were set down in a table by one of the earliest writers on the theory of stereo photography. He calculated that at 100 feet the angle was nine hundredths of a degree from parallel and at 1000 feet the angle was nine thousandths of a degree.

At the image plane on the negative, inside a camera, the image was inverted, and the left and right orientations were reversed. In Hart's wet-plate camera the same orientation change occurred, but was reversed in the positive print made by passing light through the back of the glass negative to sensitized paper pressed against the emulsion side of the negative. The same effect could be obtained by inverting the negative while keeping the back toward the observer, except that the blacks and whites were not reversed as in the positive print. For an ordinary camera with a single lens, turning the negative and making a print solved the problem of image inversion by the lens.

With a stereo camera having two lenses and a single long negative, closer objects were shifted to the left by the left lens and to the right with the right one. This was the result of the left/right reversal by each lens, and it caused near objects to be more widely separated on the negative than objects in the background. This was the exact opposite of the requirement for depth to be correctly perceived. If a contact print was made of the entire stereo negative containing both images, the inversion problem was separately corrected in each image.

Unfortunately the optical spacing was not changed and the images of an object in the foreground still had greater optical spacing on the finished print. If the two separate pictures on the print were cut apart and their positions reversed, the optical spacing problem was solved. In the uncut print the image of a foreground object was shifted left in the left picture. After cutting and relocating, the former left picture became the right one and the left shift of the foreground object moved it closer to the centerline of the newly arranged pair of prints. The same inward shift occurred in the former right print. These cut and switched prints were said to have been transposed.


Kibbey Figure 81

(Fig. 81) Sloping 2 x 4, as seen on the ground glass of the
camera and the developed negative. Small rod with sign is
7-1/2 feet from camera, and background wall is 25 feet,
(MBK photos, 5/20/95)

Kibbey Figure 82

(Fig. 82) Uncut print from the above. Note that the far ends of
the 2 x 4 seem closer than the part in the foreground. Also the
sign in the foreground is shifted to the right in right image with
respect to the background. Taken with wet-plate stereo camera.

Kibbey Figure 83

(Fig. 83) Images cut and transposed for viewing.

The transposed prints were then glued to a mounting card, yielding a stereograph with reduced optical spacing of foreground objects in relation to distant objects and allowing the viewer to perceive depth. Even if the left and right negative images are masked so that only a portion of each is printed, the resulting prints will yield a three-dimensional view if they are transposed.

Although Hart did not place dark borders around the individual images on his stereographs, they sometimes were used in illustrations in books and stereographs by other makers. If such borders were used, when observed through a viewer, they gave the impression of a scene in a window. Unless the optical spacing of the border was equal to or less than the optical spacing of the nearest objects in the stereo view, the closer objects would appear to be projecting forward out of the window.

The problems associated with transposing are discussed in more detail in a number of publications of the Carl Zeiss Company at Jena before World War II, and afterward by
Zeiss-Ikon, Stuttgart.

Several illustrations on this subject appear in an article on the Stereotar C lens for their 1950s Contax 35m/m camera. The firm of Carl Zeiss having been making microscopes since 1846 and photographic objectives since the 1890s, is precise, scholarly, and absolutely undaunted by optical complications. In the 1930s, they attacked the problem of transposing stereo images by optical means in both viewers and projection devices. They produced a number of successful solutions, and their researchers had previously invented a device for optically transposing prints on either glass or paper.

In 1927, Zeiss-Ikon, the camera and equipment-making subsidiary of Carl Zeiss A.G., advertised Stereo Umkehrapparat (Stereo inverting apparatus) accommodating four sizes of stereo negatives. An example of the 4.5 x 10.7 cm. size with serial number 79395 is in the California Museum of Photography at Riverside, California. It is a fixed focus, twin lens, stereo box camera set for one-to-one reproduction; that is the distance from the negative to the lens is the same as the distance from the lens to the positive print. The shutter is a sliding metal plate with two holes spaced like the lenses, and the aperture is controlled by sliding another metal plate with two different sized sets of holes. In use, a negative is placed at one end and an unexposed positive of the same size at the other. When the negative end is exposed to light and the "shutter" is opened, each image is re-inverted separately on the positive, giving a perfectly correct stereo print with the left negative image on the left. Being Zeiss, German, and never about to drop a great idea, they also offered as the next item, "Stereo-Umkehr-und Verkleinerungsapparat" which both optically transposed and reduced larger negatives to the more popular 4.5 x 10.7 and
6 x 13 cm. sizes.

Kibbey Figure 84

(Fig. 84) Zeiss optical transposing apparatus from Zeiss- Ikon's first (1927) Swiss catalog, p. 57.


In Hart's day it would have been perfectly possible to optically transpose negatives by re-photographing them with a long bellows stereo camera and contact printing the resulting transparent positive to yield a transposed negative ready for printing. Reduction or enlargement as well as masking would have been possible in this process, but a contemporary description has not surfaced. If an uncut, but transposed negative is discovered, it would have to include reduction or enlargement from a known original to prove optical transposition of the negative.

Europeans favored transparent glass stereographs and, because of the greater difficulty of cutting and mounting the transparent positives of this material, they appear to have used other methods to handle the problem of left/right exchange. One was the Transposing Frame, a box 150 percent of the length of the negative with a window in the center of one side. The glass negative and the sensitized glass for the positive were placed inside, the negative against the left end and the positive against the right, leaving one half of each under the window. The window was exposed to white light, the box opened in safe (dim yellow or red) light, both the negative and positive moved to the opposite ends, and a second exposure made.

If that sounds tedious, the operator also had to remember to put the positive in, emulsion-side up, the negative on top with emulsion-side down, and to lift the negative while switching ends to avoid scratching the emulsion. Transposing frames can also be used to produce paper prints. If mounted on a stereo card, such prints can be easily detected because they are not cut down the center.

Since Hart always used separately mounted prints on his stereographs there is no evidence that he used a transposing frame, but in later years the Keystone View Company of Meadville, Pennsylvania, appear to have used a transposing frame with an oversize window (bits of the adjoining image show at the edges) to make transposed proofs of their negatives.

NEGATIVE AND LENS SIZES

The five by eight inch format which Hart appears to have used for his stereo negatives, was an American size not mentioned in most contemporary European publications. While not directly related to Hart's railroad work, in earlier days as a daguerreotype photographer he would have used plates derived from a size (6-1/2 x 8-1/2 inches or 16.5 x 21.5 cm.) introduced for the first commercially produced cameras in 1839.

A summary of the negative sizes and the focal lengths of the associated lenses commonly seen in the 1860s appears below with a similar table of modern sizes and focal lengths provided for comparison.

As indicated in the table under "Usual focal length in inches," the normal lenses in the very early days of photography followed the general rule that for the smallest sizes, the focal length was about equal to the diagonal of the negative and for negatives larger than Sixth Plate the focal lengths were progressively shorter than the diagonal. There are a huge number of focal lengths available for modern cameras (from 8 mm to 1000 mm for the 35 mm format alone), and individual tastes vary in this matter, making the exact focal length of the normal lens hard to define.

The focal lengths given in the modern table are those either supplied with the camera or frequently recommended by experienced photographers. The modern format/normal focal length ratios are not very different from those of 150 years ago.
The normal (or usual) focal length lens provided an angle of view that a majority of photographers found most useful. That is, if they were only allowed one lens for their camera, that was the one they would select.

With only a single available lens, if one wished to increase the size of the image of an object on the ground glass--they moved closer; and to include more of a scene or increase the coverage- they moved back. Unfortunately, situations arose where moving the camera back and forth was impossible. Inside a room or tunnel, one was limited by the walls, and for sweeping landscapes, a wide angle lens was needed. Conversely when photographing a train from across a canyon, or workers on a trestle high above, the camera could not be moved closer and a long or telephoto lens was required to give an image of the subject which was large enough for contact printing.

For his stereographs Hart was limited to a final print size of about 3 inches square, and changing to longer or shorter lenses was his only solution in the stereo format, but in single lens photography he could get a wide angle effect by changing his negative format. As shown earlier (Fig. 60), by removing the lens shades, the lenses available in Hart's time would cover a seven inch working circle.

This would permit the use of a 6.25-by-3 inch negative area, and in Hart No. 2(a) the print is a panorama of the trestle at Newcastle measuring 6.1 by-3.05 inches. The more usual way of adjusting the angle of coverage to wide angle was to leave the negative size unchanged and use a lens of shorter focal length. Changing the focal length of the lens also modified the perspective because a wide angle or short lens made close objects appear larger, and gave the impression of a relatively large separation between foreground and background. A long or telephoto lens enlarged the relative size of distant objects while giving the impression of a smaller depth to the whole scene. A clear example of the use of long and short lenses are in Figs. 62 and 63 where Hart photographed the locomotive HUNTINGTON on the narrow track around Cape Horn. Again in Appendix A Nos. 109 and 109(a) the rock in the foreground remains about the same size, while the mountains loom up in the telephoto view.

THE PORTABLE DARK TENT

This description is taken from a book on photography published in 1867:

"Leake's Portable Dark Tent / This convenient appendage to the photographer's 'kit' consists mainly of a rectangular chamber, 30 inches high, 29-1/2 inches long, 20-3/4 inches wide, the top and bottom of which are of wood, and the four sides of yellow and black calico. The front is provided with extra folds of calico, united by an elastic band which stretches sufficiently to admit the head and shoulders of the operator, and the light is prevented from entering by the contraction of the band around the waist. The interior of a chamber of the above dimension affords convenient space for working any size plates up to 10 x 12, and light (non-actinic) is admitted thereto through a yellow silk window let into the back for that purpose. The calico sides of this tent are kept distended by means of hinged stretchers; and when it is desired to fold the tent, these are pulled away from the top, against the wedged portion of which they are jammed, and the whole then closes up to a box having the same length and breadth as given above, but only 4-1/2 inches deep. A tripod of the ordinary form is furnished with the above, as well as strong leather straps and handle to go around the tent."

One can imagine what it was like working inside that space on a hot day with the fumes of alcohol, ether, developer and hypo.

DUPLICATING PIONEER PHOTOGRAPHIC METHODS

Some of the processes described in Van Monckhoven's text are relatively easy to duplicate, and a few have been tried in preparing this appendix. Preparing salted printing paper, its exposure to the sun and subsequent fixing are described in meticulous detail on pp. 99-112 of his book. Following these instructions in 1994, a few sheets of ordinary typing paper were sensitized directly (that is without using albumin) and produced quite good sepia prints with an exposure in the hot Sacramento sun of fifteen minutes rather than the hours mentioned for exposure in England. To obtain black prints an exposure of fifty minutes was sufficient. As advised in the 1867 book, the hypo did markedly reduce the density of the image from its appearance when taken out of the printing frame.

In an attempt to obtain a glossy surface without going to the kitchen to make salted albumin, some unexposed modern photographic paper was treated in hypo to remove the silver compounds and then washed for an hour to remove the hypo and hopefully everything else used to sensitize the emulsion. The sheet was then dried and floated on a solution of pure NaCl (table salt without iodine could also have been used) and sensitized by floating on a 20 percent silver nitrate solution. When exposed to sunlight for about fifteen minutes the print turned almost blood red, and did not change color after two hours of exposure, but fixing with hypo changed the color an orange tone, and did reduce the density slightly.

Modern experiments with the photographic techniques used by Alfred Hart, even the safe and simple ones like making salted paper, and none of the more dangerous ones like adding ether and alcohol to depleted collodion, reinforce respect for the fine results he obtained. An 1863 admonition in the matter of dangerous photographic solutions by a contemporary of Hart's, Charles Waldack is repeated below:

We have often been struck with the carelessness of photographers, in not guarding against accident with poisonous chemicals, and give the following as a warning:
A boy of about two years of age was taken by a servant into a photographer's room at Huddersfield (England), and whilst the girl was sitting for her portrait, the child got hold of an uncorked bottle containing cyanide of potassium, and drank such a quantity that he died in two hours afterwards.

Because he could inspect (by dim yellow light) every step of the process from negative sensitizing through the final development of the print, Hart had some added control, but the basic inconvenience of photography in his day must have been simply overwhelming to all but its most dedicated practitioners. Historians will forever be thankful he and his contemporaries persevered.

THEN AND NOW

Kibbey Figure 85

(Fig. 85) Alfred Hart, No. 185. Depots at Cisco. The rails reached Cisco, 92 miles from Sacramento, on November 29, 1866, and it remained the end-of track for about a year while the summit tunnels were being completed. Freight wagons for the Comstock mines and the railroad were loaded at the long shed at the left. Passengers and Wells Fargo stage coaches used the double building up the hill from the freight shed. The main line is in the foreground and curved right to pass next to the passenger depot.

Kibbey Figure 86

(Fig. 86) August 1991, Cisco looking northeast as in Hart No. 185. There were too many trees to take a picture from Hart's exact location, but the direction and site are identical. The passenger depot was just below the small shack above the main line, and the all-important turntable was located in the bushes at the right center. Trees 20 to 30 feet high cover the location of the freight shed at the left. The siding below the main line remained into the 1950s.








APPENDIX G

Replicas of Some Pages

of

The Traveler's Own Book

by

Alfred A. Hart

Kibbey Figure



NOTES ON APPENDIX G

1. Only a few copies of Hart's The Traveler's Own Book exist in libraries and these illustrations are printed from a microfilm kindly supplied by The Bancroft Library at the University of California, Berkeley. Their copy is in quite good condition, measures about 4 inches by 6 inches and, includes only one chromo-lithograph pictorial illustration, which is included here. This view of Salt Lake City is based on a photograph by Alfred A. Hart.

The rare book room of the Library of Congress has two copies of Hart's book, (call letters F594.H32, copies 1 and 2). The chromo lithographs contained in copy 1 have the following titles. (The Hart CPRR stereograph number from which the chromo-lithograph is loosely copied is shown in brackets, where one exists):

Donner Lake and Railroad around Western Summit-Sierra Nevada Mountains.[No. 127]

Yosemite Falls, Yosemite Valley-Sierra Nevada Mountains.

The Palisades, Humboldt River-Nevada. [No. 338 without the people]

State Line, Truckee River, Sierra Nevada Mountains. [No. 267]

Devil's Gate, Weber River, Wahsatch [sic] Mountains.

Giant's Gap American River-Sierra Nevada Mountains. [76]

Big Trees of Calaveras-Sierra Nevada Mountains.

Residence of Brigham Young, Salt Lake City, Utah.

Bridal Veil Fall, Yosemite Valley-Sierra Nevada Mountains.

Donner Lake from the Railroad. [No. 258(a)]

Pulpit Rock, entrance to Echo Canyon.

The Devil's Slide, Weber Canyon-Wahsatch [sic] Mountains.

All of these illustrations bear the notation that they were photographed by Alfred A. Hart. In the instances where a Hart original is available, it is evident the lithographer, Charles Schober, exercised a considerable degree of artistic freedom in preparing the chromo-lithograph.

2. Hart's The Traveler's Own Book was probably finished in the early part of 1870 because the distance table is based on San Francisco. Distance along the railroad was measured from Sacramento during 1864 to late 1869.



3. Hart's clever time chart on page 217 illustrates a problem which became apparent in the United States with the advent of railroading and with the completion of the transcontinental telegraph. The complexities of timekeeping can be seen in an article appearing in the La Porte (California) Mountain Messenger (March 1, 1862 page 2, col. 3):

DIFFERENCE IN TIME.--When it is 12 o'clock M at, San Francisco, it is 14 minutes past 3, at New York, 25 minutes 48 seconds past 3 at Boston, 19 minutes 44 seconds past 2 at Chicago, 50 minutes and 40 seconds past 2 at Charleston, 9 minutes and 40 seconds past 2 at New Orleans, 9 minutes and 4 seconds past 2 at St. Louis and 41 minutes and 40 seconds past 1 at Salt Lake..."

In a letter dated May 10, 1869, which appeared on the front page of the Sacramento Daily Bee, Reporter George Parker said: "The trains on the Central Pacific run only on Sacramento time, which is telegraphed to the various stations from solar observations made by the time keeper." The small stations along the CPRR probably kept railroad time, but the traveler needed Hart's time chart when leaving the train in a larger city. (See also pp. 43-44.)

4.In the samples of the text describing the journey in Hart's book pp. 4-5, the direction of the trip is westward although the pagination of Hart's map is to the east. This is not the problem it might appear, because the map consisted of panels folded with accordion pleats to fit the book. The San Francisco end was bound into the gutter, but by opening the outermost fold, the trip could also begin at the Chicago end.

5. The CPRR had planned that the western terminus of the track should be at Yerba Buena (Goat) Island in San Francisco bay. On page 7, Hart's map shows that extension, although it was never built, and the project cancelled by an act of Congress in 1873.

6. Although in his book, Hart's map extends on from the CPRR over the UPRR and connecting railroads to Chicago, only the CPRR portion of the map (San Francisco to Ogden) has been reproduced in Appendix G.

7. The distances from San Francisco in Hart's book can be reconciled with those in Appendixes A, B, and C for distances from Sacramento by adding 138 miles to the Sacramento miles, since in 1870 it was 138 miles by rail from Sacramento to San Francisco around the bottom of San Francisco Bay.

Reading List and Selected Bibliography

This list includes the readily available material used in preparing this volume and a few periodicals which a reader might find interesting. Rare books and manuscripts only available in libraries like The Bancroft Library, the California State Library, The Huntington Library, or the Library of Congress are not listed.

Abdill, George B., Civil War Railroads. New York: Bonanza Books, 1961. Interesting views of the types of locomotives and cars used by the CPRR and some astounding records of quick railroad construction and bridge repair.
Albright, George L., Official Explorations for Pacific Railroads. Berkeley, California: University of California Press, 1921.
Benton, Thomas H., Thirty Years' View. New York: D. Appleton, 1856. Senator Benton was an active proponent of the Pacific Railway even during the years covered by this book, 1820 to 1850.
Bowles, Samuel, Across the Continent: A Summer's Journey to the Rocky Mountains...and the Pacific States with Speaker Colfax. New York: Hurd & Houghton, 1866. Contains extensive reports on visits to various dignitaries in San Francisco and conver sations with Leland Stanford. Schuyler Colfax visited Illinois- town, California, on the CPRR with Stanford, and the nearby rail terminal was named "Colfax."
Central Pacific Railroad, The Railroad Laws of California and the By- Laws of the Central Pacific Railroad Company. Sacramento: H. S. Crocker & Co., 1862.
Clark, George T., Leland Stanford, War Governor of California,Railroad Builder and Founder of Stanford University. Palo Alto, California: Stanford University Press, 1931.
Crain, Jim, California in Depth. San Francisco: Chronicle Books, 1994. An attractive and excellent source of information on stereographs of California, Hart's railroad views, and free viewing (at which Mr. Crain is a master). A folding stereoscope is included.
Davis, Jefferson, Secretary of War, Reports of Explorations and Surveys, to Ascertain...the Route for a Railroad from the Mississippi River to the Pacific Ocean. (12 volumes in 13). Washington, D.C.: various printers, 1855 1860.
Deverell, William, Railroad Crossing, Californians and the Railroad, 1850 1910, London & Berkeley:University of California Press, 1994. The author gives an excellent account of the resistance to various railroad policies particularly after Hart's CPRR days. The battle lines which the author carefully delineates were actually forming during construction of the transcontinental route.
Drinker, Henry S., Tunneling, Explosive Compounds, and Rock Drills with a History of Tunneling from the Reign of Ramses II. to the Present Time. New York: John Wiley & Sons, 1878. This volume of 1,031 pages plus appendixes and folding charts, has on the title page a tiny miner's hat equipped witha candle and below, the Latin inscription, "in tenebris lux" (In a dark place, light). The book contains over 1,000 illustrations and fully meets the expectations promised by the title and the inscription.
Forney, M. N., Locomotives and Locomotive Building. New York:

Wm.S. Gottsberger, 1886. Reprinted in 1963 (1250 copies) by Howell-North Books, Berkeley, California with a forward by Grahame Hardy. In addition to a good history of locomotive use in America from Horatio Allen's first run of a locomotive here on August 9, 1829 to 1886, this volume was also a catalog of the Rogers Locomotive Works of Patterson, New Jersey. As an example of the detailed illustrations, there are 29 line drawings cross sections of smokestacks 1836 1886 for wood, anthracite, and bituminous coal. The author mentions on page 27 that at first steam pressure gauges were not used on locomotives, but their advantages later became apparent.
Griswold, Wesley S., A Work of Giants. New York: McGraw-Hill, 1962. A wonderful source of detailed and accurate information on the Pacific Railroad and the nine-page bibliography contains about 225 entries.
Hinckley, Helen, Rails from the West, A Biography of Theodore D. Judah San Marino, California: Golden West Books, 1969.

This book contains a very sympathetic history of Judah's part in the early years of the CPRR, and includes 19 Hart CPRR views without credit to him. Some details on building the CPRR are incorrect, but not really pertinent to Judah's work.
Holliday, J. S., The World Rushed In. New York: Simon & Shuster, 8th printing 1995. A classic, covering the period in California 12 to 14 years before the start of the CPRR, and the people who rapidly built the state into almost a small nation.
Reading List and Selected Bibliography

Judah, Theodore D., Report of the Chief Engineer on the Preliminary Survey, Cost of Construction, and Estimated Revenue of the Central Pacific Railroad...from Sacramento to the Eastern Boundary of California, October 22, 1862. Sacramento:H. S. Crocker & Co. 1862.
Judah, Theodore D., Report of the Chief Engineer upon Recent Surveys, Progress of Construction and an Approximate Estimate of Cost of the First Division of Fifty Miles of the Central Pacific Railroad of Cal. Sacramento: James Anthony & Co., 1863.
Knuchel, Hans, Stereo. Piblished by Verlag Lars Muller, no date or location. An interesting small book with viewer in the cover and descriptions of obtaining the artistic stereo effects in the illustrations.
Kraus, George, High Road to Promontory. Palo Alto, California: American West Publishing, 1969. The most detailed source for data on building the Central Pacific Railroad because of the author's access to original documents at the Southern Pacific Co. Kraus made extensive use of Hart photographs and credits Hart. He also includes a short biography of each of the principals in the organization and construction of the CPRR.
National Stereoscopic Association, Stereo World. Columbus, Ohio published bi-monthly by the association. It contains articles and many illustrations by members on all sorts of stereographic information from antique to electronic. Information may be obtained by sending a stamped, self-addressed envelope to: The National Stereoscopic Association, P. O. Box 14801, Columbus, Ohio 43214.
Newhall, Beaumont, Daguerre. New York: Winter House Ltd. 1971.
Palmquist, Peter E., Lawrence & Houseworth/Thomas Houseworth & Co. A Unique View of the West 1860 - 1886 Columbus, Ohio: National Stereoscopic Association, 1980. A top quality book with many examples of their published photographs and a complete listing of the titles and catalog numbers.


Palmquist, Peter E., Carleton E. Watkins, Photographer of the American West. Albuquerque: University of New Mexico Press, 1983. Beautifully illustrated with large Watkins prints and contains extensive information on Watkins' life and photographic methods.
Root, Marcus Aurelius, The Camera and the Pencil...being at once a Theoretical and Practical Treatise. Philadelphia: J. B. Lippencott & Co., 1864. Reprinted in 1971 by Helios of Pawlett, Vermont with a forward by Beaumont Newhall. This classic gives an excellent account of the state of the art of photography at the time Hart was taking photographs. It also contains extensive information on the technical and historical aspects of photography up to 1864.
Waldsmith, John S., Stereo Views, An Illustrated History and Price Guide. Radnor, Pennsylvania: Wallace Homestead Book Co., 1991. Highly informative work with seldom-seen details on prices, preservation, and condition.
Williams, Henry T., The Pacific Tourist. New York: Henry T. Wiiliams, Publisher, 1877. An American Baedeker without mention of the fleas and cold coffee. It is illustrated with hundreds of woodcuts, including 26 based on un-credited Hart CPRR views on pages 224-243. Similar books were published annually and thousands were preserved.
Witkin, Lee D. and Barbara London, The Photograph Collector's Guide. Boston: New York Graphic Society, 1979. An excellent source for information on the appearance of all types of photographs, storage, preservation and hundreds of examples of different photographers' work. Hart is mentioned in the index, but as many art historians believed in 1979, he is listed as having died in 1869.
Zeiss-Ikon, 75 Jahre Photo-und Kinotechnik, 1862-1937. Dresden: no publisher, 1937.
Newspapers:

(La Porte, California) Mountain Messenger 1862-1865.

Sacramento Bee 1863-1870.

Sacramento Union 1863-1869.

The last two are available on microfilm at several large

California libraries.

Address for suggestions, 112
Alameda, California, 67
Albumin paper, 96
Allyne, J. W., card owner, 62
Ambrotypes, 81
Aperture for Hart's lens, fn. 93
Archer, Frederick Scott
invents the ambrotype, 81
invents wet-plate process, 81

Back imprints, list of, 115
Baird, Dr. Joseph, 51
Baldwin, Prime Minister, Stanley, 43
Bartlett, Henry H. 17
Bates, Joseph, 108
Biaggini, Benjamin, 4
Bierstadt, Charles, fn. 12
Black powder blasting, 27, 28
Blackmore, William J. 166
Bloomer Cut 26, 109
Bloomer Cut, fn. 79
Boca, California, 163
Brewster, Sir David, 108
Bridges, Railroad
American River, 22, 57
deck bridge, 22
rebuilt in 40 hours, 23, 38
Truckee River, 1st bridge, 65
Brown, Arthur, 23, 35, 36

California Pioneers, Society of, 80, 102
California Weekly Mercury, 98
Calotypes, 81
Camera, details of wet-plate, fn. 89
Camera, weight of Hart's, 93
Cape Horn near Colfax, fn. 79
Cement Ridge, 109
Central Pacific RR
A Work of Giants, 19
compared to Chinese Wall, 13
completed tunnel No. one, 61
construction started, 22
construction technology, 15
distance from supplies, 19
distances along 164, 213
docks at Sacramento, 19, 20
employs Watkins as photographer, 67
finished (April 30, 1869), 165
government bonds of, 18
impenetrable barriers to, 11, 19
incorporated at Sacramento, 18
officers of, 18
ten miles in one day, 15
tunnels, total length of all, 24
Western Pacific branch, 67
Chinese drilling skill, 26
Chinese workers, 24, 31
Cisco, California, 33, 34, 211
Clipper Gap, California, 59, 79
Collodion
description of, 81
hazards of using, 82
preparation of photographic, 83
Correia, Katherine, fn., 163
Cost of transportation, 43
Coxe Plummet-Lamp, 25
Cradle board, Piute, 163
Crawford, Jeneane, 4, 114
Crocker, Charles
CPRR founding director, 18
Crocker, Charles

decision to use nitroglycerin, 28

in charge of construction, 22
Indian treaty, 16
plans ten miles in a day, 36
proposed using Chinese laborers, 24
Crocker, Judge E. B.
at American River bridge (1865), 23, 59
Hart's mentor, 67
named CPRR attorney, 18
publishes woodcuts, Hart's stereos, 98
retires from the CPRR, 67
Crystal Palace, stereos of, 96
Currier, Captain John Charles, 38, 47

Dark chamber, interior of, 84
Dark tent, portable, 209
Dates rails arrived, (Table), 63
Davis, Jefferson, 17
Decoy Sheep-Oakland Wharf, 68
Dennison, Eli S. 69
Developing the negative, 85
Deverell, Prof. William, fn. 46
Donner Lake, 61, 158
Dowd, Charles F. 44
Downieville, California, 57
Downieville, California, fn. 54
Draper, Robert, 17
Drilling holes in granite, fn. 27
Drinker, Henry S. fn. 27, 29
Durant, Thomas (UPRR pres.), 38
Durgan, F. & Co. 73
Durgan, Frank, 40, 62, 69
Dutch Flat Wagon Road, 17, 157

Emigrant Gap snowshed, 64
Emigrant Gap, California, 19, 65
Exposure times, Hart's, 95

Film speed, Hart's, 95
Firewood, locomotive use of, 12
First book with stereos, 106
First train through Promontory, 38
Fishing at Donner Lake, 158
Folsom, California, 17, 22
Fowler, Dr. Kay (anthropologist), 163
Free viewing, 105, 109

Gillis, John R. 30, 33, 34
Glass plates, preparing, 83
Gold Run, California, 33
Gold Spike, The, 45
Granite, 24
Grass Valley, California, 54
Great Wall between tunnels, 31
Green Bluffs, above American River 61, 88
Griswold, Wesley S. fn. 17, 45
Guncotton, 82

Halftones, Hart's method, 76
Hall, Dr. Donald (astronomer), 44
Hammers for rock drills, fn. 27
Hart, Alfred A.
auctioned his paintings (1875), 200
began publishing stereos, 61
character of, 14
CPRR connection terminated, 67
difficulties in photography, 14, 162
eye for composition, 12
histories of, published, 51
in Denver, Colorado, 73
in Hartford, Connecticutt, 17
Hart, Alfred A.
in New York City, 75
La Porte, California, studio at, 52
Meadow Lake, with, camera, 92, 160
Negatives identified, 60
official CPRR photographer, 11
on cab roof at Promontory, 49
painting portraits in Denver, 73
painting portraits in Hartford, 17
photographing at Promontory, 49
photographing local Indians, 15
portrait of (at age 29), 189
problems of imitating, 12
sketching by Yuba River, 109
sold negatives to Lawrence & Houseworth, 59
unique photo opportunities, 11
wins gold medal for painting, 75
Hart, John L. J. 51
Hart's, Alfred A.
The Traveler's Own Book, 46, 213
advertisement in Reno (1868), 198
advertisement in the Sacramento Directory,40
advertisement, La Porte, 52
back imprints on stereos, 114, 115
birth at Norwich, Connecticutt, 52
black photo wagon, 65, 157
camera-watching dog, 109, 110
criteria of excellence, 75
death in Alameda (at age 92), 77
film speed & exposure times, 95
Grass Valley stereos, 54
mentor, Judge E. B. Crocker, 67
negatives, destruction of, 73
negatives, size of, 80
numbering system for stereos, 61, 114
Hart's, Alfred A.
patents, two, 75
Pullman Car interiors, 68
religious panoramas, 191
Sacramento locations, 50, 52, 62
shadow, with camera, 65, 109
stereo from Capitol building, 58
stereo titles (list), 154
Hartford, Connecticut, 17
Haymond, Creed Esq. 16, 19
Hazards of photography in 1860s, 82, 209
Heering, J. H., of San Jose, 69
Holmes, Oliver Wendell, 108
Hopkins, Mark 18, 71
Humboldt Lake 36, 40
Huntington, Collis P.
connection with Watkins, 69
named CPRR vice-president, 18
objects to making woodcuts, 98, 194
Hydraulic mining stereographs, 53
Hydraulic Mining, Yuba County, 57
Hyposulfite of soda 87, 100

Ice business in California, 163
Iron development system, 85
Isenberg, Mathew, fn. 38

Judah, Theodore D.
alternative routes surveyed, 22
bridges designed, 22
congressional friends, 18
dies in New York, 22
his plan for Pacific RR, 17
named CPRR chief engineer, 18
only experienced RR builder, 19
purchased locomotives, 18

Keith, William, painter, 75, 98
Keystone View Company, 107
Kraus, George (CPRR historian), 15, 18, 45, 51

La Porte, California, 52
Langenheim, William and Frederick, 96
Latham, Senator Milton, 71, 161
Lawrence & Houseworth
advertisement (in 1863), 53
advertisement (in 1864), 57
dating their stereos, fn. 67
published stereos from Hart negatives, 54, 59, 60, 96, 158
stereos identical, published Hart's, 178
tax stamps on stereos, 60
Lenses, 1860s photographic
compared to modern, 93
focal length of Hart's, 94
for Hart's camera, 93, 209
measuring focal length, fn. 94
photo of, 91
Lewiston, Maine, 73
Lewiston, Maine, fn. 69
Libraries
Bancroft, at Berkeley, 178
California State, 4, 178
Library of Congress, 4, 178
New York Public, 4, 178
The Huntington, 4, 178
University of Nevada, 4, 178
Lincoln, President Abraham, 18, 109
Locomotives
CHAMPION, on the desert, 66
CONNESS at Newcastle, 158
CONNESS, American River bridge, 23, 56
CONNESS on turntable, 59
Locomotives
GOV. STANFORD at Sacramento, 55
HUNTINGTON at Cape Horn, 92
HUNTINGTON, American River bridge, 59
JUPITER at Promontory, 46, 47
pulling power of, fn. 163
SACRAMENTO at Summit Tunnel, 160
UPRR (No. 119), 47

Majdik, Tim (SP foreman), fn. 33
Marysville, California, 54
McGowan, Dr. Joseph A. fn. 39
Medal commemorating Promontory, 39
Melainotypes, 81
Melting snow water in tunnels, 28
Montague, Samuel S. 22, 55
Monument Point, Utah, 166
Mowbray, George (Nitro. Mfgr.), 28
Museums
California State Railroad, 4
Crocker Art, 4, 178
Sacramento Archives, 4, 111
Muybridge, Eadweard, J. 12

Nadeau, Luis, fn. 82
Naef, Weston J. 51
Native Americans
CPRR treaty with, 16
end of wars with, 43
Hart's photos of, 15
Piute mother with cradle board, 163
Shoshones inspecting locomotive, 66
"Negatives by A.A. Hart", 60
Negative sizes (Table), 208
Newcastle, California
CONNESS there (1865), 59, 158
Newcastle, California
photo of trestle, 2
start of heavy grading, 19
Newhall, Beaumont, 13
Newspapers:
California Star (San Francisco), 17
Denver Rocky Mountain News, 73
Downieville Mountain Messenger, 57
La Porte Mountain Messenger, 43, 44, 233
Sacramento Daily Bee, 44, 213
Sacramento Union, 34, 59
San Francisco Bulletin, 38
Nitroglycerin, 28, 29
Nobel, Alfred (inventor), 28
Norden, 21
North San Juan, California, fn. 54

Optical spacing in stereos
amount in usual viewers, 101
changes with distance, 205
definition of, fn. 108
maximum for free viewing, 108
Oxen in snow, 34

Pacific Railroad
early planning of, 17
incalculable blessing, 17
Judah's building plan, 17
surveys by War Dept. 17
Pacific Railroad Act
1876 required completion, 18
limited CPRR territory, 24
provisions of 1862 act, 18
signed (in 1862), 18
Pacific Railroad Bill, 18

Palisade Canyon, 35
Palisades, The, 37
Palmquist, Peter E.
Carleton E. Watkins, fn. 69
Hart's Traveler's Map, fn. 51
Lawrence & Houseworth, fn. 54, 67
Photography in the West fn. 14
Parker, George (Bee reporter), 44
Patents, Hart's two, 75
Photo wagon, Hart's, 24
Photographic glass plates, 83
Photographic printing in 1860s
contact printing frame, 100
masking different by Watkins, 102
masking stereo prints, 101, 206
salted paper prints, 96
stereo windows, 206
toning bath, 100
using sunlight, 99
Piggy-backing, 24, 65
Prices, wholesale of stereos, 202
Promontory, Utah
ceremonies at, 39
commemorative medal for, 39
Hart photographing ceremonies, 49
Pullman car interiors, 68
Pyroxyline or Guncotton, fn. 82

Railroad explorations & surveys, 17
Reilly, John James, 12
Roche, Thomas C. fn. 12
Russell, Captain Andrew J.
credited for Hart photo, 14
photographed Civil War bridge, 38
photographed Hart on locomotive, 49
photographed locomotives meeting, 45, 79

Sacramento
birdseye view (lithograph), 50
GOV. STANFORD on front street, 55
Hart's studio on J Street, 52
old address number system, 50
overview from Capitol building, 58
Sacramento Valley RR, 22
Salted paper, 96
San Francisco & San Jose RR, 67
San Francisco, California, 67
Savage, Charles R. 12
Schoenbein, Prof. Christian, fn. 82
Sensitizing the plates, 84
Shadow of Hart and camera, 109
Shea, Edmund (tunneling executive), 28
Sherman, General William T. 19, 43
Shoshone Indians looking at locomotive, 66
Sierra Snow
remaining in July, 19
underestimated by Judah, 22
Silver chloride paper, 99
Silver Hammer at Promontory, 39
Snowplows, 34
Snowstorms, 33
Snowsheds
built by Arthur Brown, 35
buried in snow, (April 1995), 152
interior of, at Emigrant Gap, 64
old timbers below Donner Peak, 32
photo of interior, 21, 73
photo of interior (1868), 162
Snyder, Miles, Esq. fn. 42
Southern Pacific Co. 67, 73
Spear, Pauline Grenbeaux (art historian), 4, 51
Stanford, Leland
drives last spike on CPRR, 39, 46
group visits Ogden, 166
Stanford, Leland
identified in stereos, 109
named president CPRR, 18
plans CPRR trip for Latham, 71
train at Monument Point, 166
turns first shovel on CPRR, 22
Stereo photography, 80
Stereographs defined fn. 16
Stereopticon, 108
Stereoscope
Brewster's, 108
defined, 105
Holmes-Bates, 96, 108
Smith, Beck & Beck, 108
standard type in 1860s, 103
Stockton, California, 67
Strobridge, James H.
appointed construction superintendent, 24
at Palisades, 165
colorful vocabulary, 24
describes desert construction, 36
identified in photographs, 109
lost eye in Bloomer Cut, 26
Palisades, inspecting locomotive, 165
shaft for Summit Tunnel, 160
ten miles of track in a day, 165
working on WPRR (late 1869), 67
Suez Canal, 40
Summit Tunnel
central shaft to speed work, 160
completion date (in 1867), 61
construction details, 19
slow progress in, 28
surveying in, 27
tracks removed, 33
west end, photo of, 111
Summit tunnels, profile of first seven, 30
Sun's speed across nation, 44
Surveying, 27
Swackhamer, Barry, 4, 62, 73, 114

Taber, I. W., (S. F. Photographer), 73
Talbot, William Henry Fox, 81
Tax stamps, documents, 60
Taylor, President Zachary, 17
Taylor's Mills, Utah, 166
Telephoto lenses, 94
Ten Mile Canyon, 47
Ten miles of track in one day, 15, 38, 165
The Palisades, 79
Thomas Houseworth & Co. 67, 68, 161
Time
Charles Dowd suggests standard, 44
differences recognized, 44, 213
local apparent, 44
railroad (before 1884), 43
zones (after 1884), 44
Tintype, 81
Track workers, 8, 40, 47
Trans-Siberian Railroad, 19
Transportation, cost of, 43
Transposed glass negatives, fn. 101
Transposing by cutting, 104
Transposing frames, 208
Transposing optically, 207
Trestles
American River bridge approach, 56
at Newcastle with train, 2
Judah's Arcade trestle, 22
Tripod for Hart's camera, 94
Truckee, California, 57, 71
Tunnel
Chinese workers in, 28
Tunnel
CPRR No.1, Grizzly Hill, 61
excavation of typical, 25
heading and bottom, photo of, 25
No. 8, photo of interior, 74
surveying inside, 25, 27
workers, crew sizes, 28
Tunnel workers, 28
Tunnels of the CPRR (15), 24
Turrill, Charles B. 51, 73, 81

Union Pacific Railroad
started after CPRR, 22

Van Monckhoven, D. fn. 82, 87
Varnishing albumin prints, 103
Virginia City, Nevada, 70

Wages building snowsheds, 35
Wagon freight rates, 43
Wallack, Charles, fn, 209
Washing the negative, hazards of, 87
Watkins, Carleton E.
labels printed on stereos, 105
mammoth prints, 13
masking of Hart negatives, 102
published Hart negatives, 69
started taking CPRR views, 67
started taking CPRR views, fn. 12
study of, by Turrill, 51
Weed, Charles I. (early photographer), 196
Weiner, Allen, 89
Wells Fargo
explosion at San Francisco office, 28
express office at Cisco, 70, 161
Western Pacific Railroad, 67
Wet collodion process, 80
Wet-plate stereo camera, fn. 89
Wheatstone, Professor Charles, 105
Whitney & Paradise
Newcastle Trestle photograph, 2
printed Hart negatives, 59, 60
Whitney, Asa, 16
Williams, John Hoyt, fn. 45
Willumson, Dr. Glenn L. 46, 51, 63, 67
Wood, James N. 51
Wren, Sir Christopher, 77

Yerba Buena Island terminal, 213

Zeiss optical transposing, 207





Figure. Page -
- Wet-plate panoramic camera flyleaf
Frontis. Hart : Trestle at Newcastle II
1. Portrait of Alfred A. Hart VI
2. Track workers on the Utah desert X
3. Hart: CPRR freight docks at Sacramento 20
4. Inside snowshed at Norden 21
5. Hart : American River Bridge 23
6. Hart : Inside Summit Tunnel 25
7. Bloomer Cut nr. Auburn in 1990 26
8. Hand drilled hole in Summit Tunnel 26
9. Engineering profile of Summit Tunnels 30
10. Ice in Summit Tunnel 30
11. Great Wall between Summit Tunnels 31
12. Hart : East ends Tunnels 6 and 7 32
13. Old snowshed timbers in 1994 32
14. Spikes from Summit Tunnels in 1994 33
15. Hart : Arthur Brown on snowshed 36
16. Hart : Water train near Humboldt Lake 36
17. Hart : First Construction Train, Palisades 37
18. Hart : End of track near Humboldt Lake 40
19. Hart's ad. in Sacramento Directory 40
20. Frontis. Crofutt's Transcontinental Tourist 41
21. Obverse, Pacific Railroad Medal 42
22. Reverse, Pacific Railroad Medal 42
23. Hart : Last rail is laid at Promontory 46
24. Hart : The Monarchs, East and West 47
25. Hart : Curving Iron, Ten Mile Canyon 47
26. Hart : The Rival Monarchs 48
27. Russell: Locomotive 119 from JUPITER 49
28. Birdseye view of Sacramento 50
29. Houseworth: J St. from 6th, Sacramento 52
30. Hart's ad. in Mountain Messenger 53
31. Houseworth's ad., Mountain Messenger 53
32. GOV. STANFORD on Front Street 55
33. Hart : CONNESS on American Riv. trestle 56
34 Hart : Scene in Truckee 57
35 Houseworth's Downieville advertisement 57
36 Houseworth: Northwest from State Capitol 58
37 Hart : Northwest from State Capitol 58
38. Hart : Interior of frame for snow covering 64
39. Hart : Bridge interior with his shadow 65
Figure. Page

40. Hart : Emigrant Gap looking West 65
41. Hart : Shoshone Indians and Locomotive 66
42. Houseworth: Decoy Sheep Oakland 68
43. Hart : Loading stage coaches at Cisco 70
44. Cisco site in 1990 70
45. Hart : Donner Lake & Tunnels 7 and 8 71.
46. Donner Lake & Tunnels 7 and 8, 1992 71
47. Interior Donner Peak snowshed, 1992 72
48. Ice fall in snowshed, 1993 74
49. Icicles in Tunnel 8, 1993 74
50. CPRR route map, 1875 78
51. Woodcuts on map from Hart photos 78
52. Equipment for polishing plates 83
53. Interior of dark chamber 84
54. Coating plate with collodion 85
55. Saving the used excess collodion 85.
56. Glass sensitizing tank, for silver nitrate 86
57. Developing the wet-plate negative 86
58. Wet-plate stereo camera like Hart's 90
59. Stereo print from wet-plate camera 91
60. Print from wet-plate panoramic camera 91
61. Wet-plate camera lenses & accessories 91
62. Hart : HUNTINGTON on Cape Horn 92
63. Hart : HUNTINGTON, Cape Horn (Tele) 92
64. Hart's large camera and tripod 92
65. Hart and large camera at Meadow Lake 92
66. Hart's smaller tripod 94
67. Hart : Clock in California Senate chamber 96
68. Printing frame for wet-plate negatives 97
69. Rack for holding print frames 97
70. Examining print during exposure 97
71. Newspaper woodcut from Hart photo 98
72. William Kieth woodcut from Hart photo 98
73. Hart : Special stereo with narrow spacing 102
74. Stereoscopes from the 1860s 106
75. Keystone View Co. mounting room 107
76 Hart : Bridge over Truckee, his shadow 110
77. Hart : Artist sketching on Yuba River 110
78. West end Summit Tunnel in 1994 111-

Hart stereos Nos. 1 through 10 116-

Hart stereos Nos. 11 through 22 117

Figure. Page
- Hart stereos Nos.23 through 34 118-

Hart stereos Nos.35 through 44(a) 119-

Hart stereos Nos.45 through 56 120-

Hart stereos Nos.56 through 65 121-

Hart stereos Nos.66 through 77 122-

Hart stereos Nos.78 through 89 123-

Hart stereos Nos.90 through 100(a) 124-

Hart stereos Nos.101 through 111 125-

Hart stereos Nos.112 through 123 126-

Hart stereos Nos.124 through 133 127-

Hart stereos Nos.134 through 145 128-

Hart stereos Nos.146 through 156 129-

Hart stereos Nos.157 through 167 130-

Hart stereos Nos.168 through 179 131-

Hart stereos Nos.180 through 189 132-

Hart stereos Nos.190 through 201 133-

Hart stereos Nos.202 through 212 134-

Hart stereos Nos.213 through 223 135-

Hart stereos Nos.224 through 235 136-

Hart stereos Nos.236 through 246 137-

Hart stereos Nos.246(a) through 255 138-

Hart stereos Nos.256 through 266 139-

Hart stereos Nos.267 through 278 140-

Hart stereos Nos.279 through 289(a) 141-

Hart stereos Nos.290 through 300 142-

Hart stereos Nos.301 through 312 143-

Hart stereos Nos.313 through 323 144-

Hart stereos Nos.324 through 335 145-

Hart stereos Nos.336 through 346 146-

Hart stereos Nos.347 through 358 147-

Hart stereos Nos.359 through 364 + 148
79. Summit snowsheds in heavy snow, 1995 152
80. Tunnels 7 and 8 in heavy snow, 1995 152
81. Stereo negative from wet plate camera 205
82. Stereo negative printed and uncut 205
83. Stereo print cut and transposed 205
84 Zeiss optical transposing devices 206
85. Hart : Depots at Cisco 1867 210
86. Site of Depots at Cisco, August, 1991 210



 

Courtesy Mead B. Kibbey, Author, and a Director of the California State Library Foundation. Reproduced by permission.
This web page which is not for republication was generated from a revised version of the original manuscript file that according to the author, "contains all the text of the Hart book, corrected for the errors found after publication. The section on 'Location of Stereos' has been brought up to date in the K column and some corrections in the Swackhamer and Huntington Columns."


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