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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
ISBN 0-929722-85-X
Printed in the United States of America
All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher.
Alfred A. Hart, Artist
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
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
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]
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)
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
Height above ravine 1,400 feet.
Hart
Hart
Hart
distant.
Hart
129. 115 Donner Lake. Crested Peak and Mt. Lincoln in distance.
Hart
155. 72 View of the Forks of the American River, 3 miles above Alta.
163. 84 Frame for Snow Covering, interior view.
193. 104 Summit Station, Western Summit. [One mile above Norden, California.]
203. 105 Donner Lake, Tunnels No. 7 and 8, from Summit Tunnel, Eastern Summit in distance.
215. 84 Bear Valley and Yuba Canyon, from Emigrant Gap.
Tunnel No.14. 134 miles.
Hart
230. 58 View on the American, below Cape Horn [from bridge to Iowa Hill]
252. 106.7 Snow Gallery around Crested Peak. Timbers 12x14 in.,20 in. apart.
265. 127 Boca. Crossing of Little Truckee.
Lower Canyon of Truckee River. Lower Canyon of
307. 188 The Goliah, at Wadsworth. Big Bend of Truckee River.
Hart
325. 355.0 Car of Sup't of Construction. End of Track.
Second Crossing of Humboldt
Hart
341. 435 View across River and Canyon, from top of Palisades.
Hart
[ A copy in the Huntington Library collection identifies the man in the tall hat at right as
the English capitalist, William Blackmore.]
Geographical List
(Arranged by miles from Sacramento)
Alfred Hart's CPRR Stereo Views
GEOGRAPHICAL LIST OF CPRR STEREOGRAPHS
Some titles are shortened in this list. For full title see Appendix B. "Miles" indicates miles from Front street, Sacramento.
Hart
Hart
Cape Horn and RR on left.
river below R.R 1400 feet, 57 miles.
Yuba River.
Hart
END OF SERIES
Click for APPENDIX D
Alfred Hart's CPRR Stereo Views
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.
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.
NYL=New York Public Lib., PRIVATE COLLECTIONS: S=Barry A. Swackhamer Collection K=Author"s Collection
Glenn Willumson's Article on Hart
Alfred Hart: Photographer of the Central Pacific Railroad
by
Glenn L. Willumson
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
Table of Contents
APPENDIX A
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.
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.
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.
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.
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.
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
128. 115 Boating Party on Donner Lake.
No. Miles Title Notes
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
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
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
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
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
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
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.
229. 58 American River Bridge. Railroad around Cape Horn, 1400 feet above.
No. Miles Title Notes
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
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
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
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
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.
No. Miles Title Notes
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
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.
No. Miles Title Notes
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.
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.
APPENDIX C
of
BY ALFRED HART
(".0" after mile figure means estimated distance)
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.
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.
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--
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.
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.
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.
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.
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.
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,
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
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.'