1. Snyder, Joel, American Frontiers: The Photographs of Timothy H. O'Sullivan, 1867–1874 (Millerton, N.Y.: Aperture, 1981), p. 41.Google Scholar

2. “Watkins' Yosemite Art Gallery,” San Francisco Daily Alta California, 04 13, 1872, p. 1.Google Scholar

3. “Sun Pictures of Yosemite,” San Francisco Daily Alta California, 02 17, 1868, p. 1.Google Scholar

4. “Sun Pictures,” p. 1.Google Scholar

5. Holmes, Oliver Wendell, “Doings of the Sunbeam,” Atlantic Monthly 12 (07 1863): 9, 12.Google Scholar

6. “Sun Pictures,” p. 1.Google Scholar

7. Holmes, , “Doings of the Sunbeam,” p. 9.Google Scholar

8. Vogel, Hermann W., “Photography and Truth,” Philadelphia Photographer 6 (08 1869): 262–63.Google Scholar

9. Bowman, James F., “A Talk About Art,” Overland Monthly 9 (08 1872): 170–71.Google Scholar

10. “Our Art Possibilities,” Overland Monthly 2 (03 1869): 253Google Scholar. The writer's remark about a stenographic court report refers to Hippolyte Taine's book Philosophie de l'Art.

11. [Brother] Fidelis Cornelius, Keith, Old Master of California (New York: Putnam's, 1942), p. 76.Google Scholar

12. “Art Items,” New York Evening Post, 12 11, 1862, p. 2.Google Scholar

13. Holmes, , “Doings of the Sunbeam,” p. 8.Google Scholar

14. “Paris Exhibition Committee,” San Francisco Daily Alta California, 01 13, 1867, p. 1Google Scholar. Weed was identified as the photographer in “California Photographs,” San Francisco Daily Alta California, 01 15, 1867, p. 1.Google Scholar

15. Halleck, Henry W. to Muybridge, E. J., 10 13, 1868Google Scholar, letter in the National Archives and Records Administration, Washington, D.C.; quoted in Hood, Mary V. Jessup and Haas, Robert Bartlett, “Eadweard Muybridge's Yosemite Valley Photographs, 1867–1872,” California Historical Society Quarterly 52 (03 1963): 14.Google Scholar

16. Jackson, Helen Hunt, Bits of Travel at Home (Boston: Roberts Brothers, 1878), pp. 85–86Google Scholar; quoted in Hood, and Haas, , “Muybridge's Yosemite Valley Photographs,” p. 16.Google Scholar

17. See, for example, “Mr. Watkins, the Artist,” Mariposa Weekly Gazette, 07 14, 1866, 2Google Scholar. One of Hazeltine's “Artist” imprints is reproduced in Palmquist, Peter E., “C. L. Pond: A Stereoscopic Gadabout Visits Yosemite,” Stereo World 10 (01/02 1984): 18Google Scholar. Reilly's reference to his “art” appears in Reilly, J. J., “Outdoor Work on the Pacific Coast,” Philadelphia Photographer 11 (07 1874): 211.Google Scholar

18. Earle, F. C., “Landscape Photography,” Anthony's Photographic Bulletin 4 (1873): 39.Google Scholar

19. Moran, John, “The Relation of Photography to the Fine Arts,” Philadelphia Photographer 2 (03 1865): 33.Google Scholar

20. Williams, Virgil, “On the Relation of Art and Photography,” Wilson's Photographic Magazine 26 (11 2, 1889): 642–45Google Scholar. The lecture, printed after Williams's death, was given at an unspecified earlier date before the Pacific Coast Amateur Photographic Association.

21. Williams, , “Art and Photography,” p. 643.Google Scholar

22. Mowrey, William H., “Keep Up with the Growth of Our Art,” Wilson's Photographic Magazine 26 (06 1, 1889): 322.Google Scholar

23. “Sun Pictures,” p. 1.Google Scholar

24. “Art Matters,” Scribner's Monthly 3 (04 1872): 8Google Scholar, in “Publisher's Department” at end of issue; originally printed in the Sunday Times and Messenger (10 15, 1871)Google Scholar. This short article is primarily about the photographs of Campbell and Hecker of New York.

25. Information courtesy Prof. Don D. Fowler. Some of Hillers's Yosemite photographs appear in Fowler, , The Western Photographs of John K. Hillers: Myself in the Water (Washington, D.C.: Smithsonian Institution, 1989).Google Scholar

26. “The Arriola Collection,” San Francisco Daily Evening Bulletin, 11 26, 1872Google Scholar; typescript seen at the Archives of California Art, Oakland Museum.

27. Muybridge, Eadweard, “Yo-Sem-i-te Valley,” flier, 02, 1868Google Scholar; quoted in Hendricks, Gordon, Eadweard Muybridge, The Father of the Motion Picture (New York: Grossman, 1975), p. 17.Google Scholar

28. See Fowler, , Western Photographs, pp. 134, 155Google Scholar. The prints from Hillers's album are now owned by a descendant living in California.

29. Catalogue of Lawrence & Houseworth Opticians (3d edition, ca. 1866, copy at the Library of Congress)Google Scholar; cited in Palmquist, Peter E., “California's Peripatetic Photographer: Charles Leander Weed,” California History 58 (Fall 1979): 208.CrossRefGoogle Scholar

30. Watkins's advertisement was printed on the back of the stereoviews he copyrighted in 1867: “Photographic Views of the Pacific Coast, for the Stereoscope, Album, and Framing, Photographed and Published by C. E. Watkins, 425 Montgomery Street, San Francisco.” Reilly and Company's business card read in part: “Reilly & Co.'s large views are beautiful for framing, and they sell them for 50 cents each” (see Hickman, Paul Addison, John James Reilly, 1838–1894: Photographic Views of American Scenery [Ph.D. diss., University of New Mexico, 1987], p. 282).Google Scholar

31. Krauss, Rosalind, “Photography's Discursive Spaces: Landscape/View,” Art Journal 42 (Winter 1982): 312–13.CrossRefGoogle Scholar

32. Morton, H. J., “Yosemite Valley,” Philadelphia Photographer 3 (12 1866): 378.Google Scholar

33. See Muybridge's letter to the director of the Mercantile Library, May 14, 1868, Cosmopolitan-Gallery of Photographic Art, 415 Montgomery Street, San Francisco; collection of the California Historical Society, item MS 129. Also quoted in Hood, and Haas, , “Muybridge's Yosemite Valley Photographs,” p. 12.Google Scholar

34. “Art in California,” San Francisco Daily Times, 05 13, 1859, p. 2Google Scholar; and Lloyd, Benjamin E., Lights and Shades in San Francisco (San Francisco: Bancroft, 1876), p. 420.Google Scholar

35. “Photograph Studies: Eight Hundred Views of Yosemite Valley and the Big Trees,” San Francisco Daily Alta California, 04 7, 1873, 1Google Scholar. See also Naef, Weston, Wood, James N., and Heyman, Therese Thau, Era of Exploration: The Rise of Landscape Photography in the American West, 1860–1885, Exhibition Catalogue (New YorkGraphic Society for the Metropolitan Museum of Art and the Albright-Knox Art Gallery, 1975), pp. 174–75.Google Scholar

36. “Leidig's Hotel Register,” entries for 10 16 and 29, 1878Google Scholar, Yosemite Research Library, Yosemite National Park.

37. “The Art Exhibition,” San Francisco Morning Call, 01 27, 1880Google Scholar; photocopy of article seen at Archives of California Art, Oakland Museum Library. See also [Lady] Gordon-Cumming, Constance F., Granite Crags (Edinburgh: William Blackwood and Sons, 1884), p. 282.Google Scholar

38. Palmquist, Peter E., Carleton E. Watkins: Photographer of the American West (Albuquerque: University of New Mexico Press and the Amon Carter Museum, 1983), p. 13Google Scholar. See also Harrison, Alfred C. Jr., William Keith: The Saint Mary's College Collection (Moraga, Cal.: Hearst Art Gallery, Saint Mary's College, 1988), p. 16.Google Scholar

39. See, for example, Muir, John to Fiske, George, 03 13, 1905Google Scholar, collection John Muir National Historic Site, Martinez, California; copy at Yosemite National Park Research Library. Muir wrote: “Your letter of March 6th to our friend Keith he has forwarded to me.…”

40. See “Arriola Fund,” San Francisco Daily Evening Post, 11 16, 1872Google Scholar; “The Arriola Collection,” San Francisco Daily Evening Bulletin, 11 14, 1872Google Scholar; and “Arriola,” Daily Evening Post, 10 29, 1872Google Scholar. Copies of these articles and others can be seen in the “Arriola” file, Archives of California Art, Oakland Museum.

41. See Novak, Barbara, American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience (1969; rept. New York: Harper and Row, 1979), pp. 82ff.Google Scholar

42. Some of these ideas originated in conversation with Peter Palmquist in January, 1989.

43. The four larger paintings based on Bierstadt's oil sketch Valley of the Yosemite, 1864Google Scholar (Museum of Fine Arts, Boston) are Looking Down Yosemite Valley, 1865Google Scholar (Birmingham Museum of Art, Alabama); Yosemite Valley, 1868Google Scholar (Oakland Museum); Sunset in Yosemite Valley, 1868Google Scholar (Haggin Museum, Stockton); and Valley of the Yosemite, 1868Google Scholar (Yale University Art Gallery).

44. Porter, Bruce, “Desperately Seeking Bierstadt: On the Trail of the Great Propagandist of the American West,” Connoisseur 219 (08 1989): 53.Google Scholar

45. Earle, , “Landscape Photography,” p. 39.Google Scholar

46. Galassi, Peter, Before Photography: Painting and the Invention of Photography (New York: Museum of Modern Art and New York Graphic Society, 1981), pp. 21, 27.Google Scholar

47. “Art Patronage in California,” California Art Gallery 1 (03 1873): 33.Google Scholar

48. “Thomas Hill's Pictures,” San Francisco Daily Alta California, 04 20, 1874, p. 1.Google Scholar

49. J[osiah] Whitney, D. et al. , Geology of California. I. Report of Progress and Synopsis of the Field-Work, from 1860–1864 (Philadelphia: Caxton Press of Sherman and Company, 1865)Google Scholar; and Whitney, , The YosemiteBook (New York: Bien, 1868).Google Scholar

50. See Snyder, , American Frontiers, pp. 40–41.Google Scholar

51. King, Clarence, Systematic Geology. I. Report of the Geological Exploration of the Fortieth Parallel (Washington, D.C.: U.S. Government Printing Office, 1878)Google Scholar; and Hague, Arnold and Emmons, S. F., Descriptive Geology. II. Geological Exploration of the Fortieth Parallel (Washington, D.C.: U.S. Government Printing Office, 1877).Google Scholar

52. Holmes, , “Doings of the Sunbeam,” p. 7Google Scholar. See also Krauss, , “Photography's Discursive Spaces,” pp. 314–15.Google Scholar

53. Palmquist, , Watkins, p. 204.Google Scholar

54. See Palmquist, Peter E., Lawrence & Houseworth / Thomas Houseworth & Co., a Unique View of the West, 1860–1886 (Columbus, Ohio: National Stereoscopic Association, 1980), pp. 13, 60–61Google Scholar. Examples of these published lists include Bradley, and Rulofson, 's Catalogue of Photographic Views by Muybridge (San Francisco, 1873)Google Scholar and Lawrence, and Houseworth, 's Gems of California Scenery (San Francisco, 1865).Google Scholar

55. For a partial list of Reilly's stock, see Hickman, Paul and Palmquist, Peter, “J. J. Reilly, Photographer and Manufacturer of All Kinds of Stereoscopic Views. Part I,” Stereo World 11 (11/12 1984): 16–19Google Scholar. For a list of Reilly's “New Series” stereoviews, see Hickman, and Palmquist, , “J. J. Reilly, Photographer. Part III — Views of American Scenery,” Stereo World 12 (07/08 1985): 19–23.Google Scholar

For a list of the California views published by John P. Soule of Boston, see Palmquist, Peter E., “Soule's California Stereographs,” Stereo World 8 (03/04 1981): 5–10Google Scholar. (According to Mr. Palmquist, most or all of Soule's California views were taken by Martin M. Hazeltine.)

For an extensive list of the photographs published by Lawrence and Houseworth (later Thomas Houseworth and Company), see Palmquist, , Lawrence & Houseworth, pp. 57–147.Google Scholar

56. Keller, Ulrich, “The Twilight of the Masterpiece: Photography's Problematic Adaptation to the Art Sphere,” Museums/Photography/The Future: California Museum of Photography Bulletin 6 (1987): 2, 3, 6.Google Scholar

57. The Oakland Museum, California, and the Yosemite Museum at Yosemite National Park, hold cabinet card portfolios by Fiske and Fagersteen.

58. Hood, and Haas, , “Muybridge's Yosemite Valley Photographs,” p. 18Google Scholar; and Smillie, James D., “Diaries,” entries for July 1–08 21, 1871Google Scholar, Microfilm roll 2849, frames 1215–1240, Archives of American Art, Smithsonian Institution.

59. Watkins, 's Yosemite GalleryGoogle Scholar albums exist in several museum collections. For a list, see Palmquist, , Watkins, p. 210.Google Scholar

60. Weed's series of thirty mammoth views exists in two collections today: the New York Public Library and a private collection in Mountain View, California. A list of the titles appears in Palmquist, , Lawrence & Houseworth, p. 147.Google Scholar

61. Todd, John, The Sunset Land; or, The Great Pacific Slope (Boston: Lee and Shepard, 1871), p. 319.Google Scholar

62. James D. Smillie's small notebook of Yosemite subjects is owned by his granddaughter, Barbara Smillie Curtis. In his diary entry of July 29, 1871, Smillie noted, “I got to work with watercolors on sketches in my small book that had been taken while off on my Little Yo-Semite trip.…” (see “Diaries,” Microfilm roll 2849, frame 1229).

63. An exception is the occasional painter's use of the “Claude glass,” a dark, slightly concave mirror used in selecting landscape compositions from nature.

64. Reilly, , “Outdoor Work,” p. 211Google Scholar; quoted in Hickman, Paul and Palmquist, Peter, “J. J. Reilly, Part IV — Hard Economic Realities,” Stereo World 12 (09/10 1985): 11.Google Scholar

65. “Views in the Yosemite Valley,” Philadelphia Photographer 9 (03 1872): 96Google Scholar; quoted in Hickman, Paul and Palmquist, Peter, “J. J. Reilly, Photographer. Part II — Yosemite,” Stereo World 11 (01/02 1985): 14.Google Scholar

66. Mowrey, , “Keep Up,” p. 322.Google Scholar

67. Daily Morning Call (1868)Google Scholar, quoted in Hendricks, , Muybridge, p. 18.Google Scholar

68. Moran, , “Relation of Photography,” p. 33.Google Scholar

69. Hillers, John K. to Powell, John Wesley, 12, 1873Google Scholar, from San Francisco, Record Group 57, Powell Survey Correspondence, Microfilm M156, National Archives and Records Administration, Washington, D.C. Hillers wrote, “I presented my letter to Mr. Watkins who received me very kindly, showed him my work which he pronounced excellent, told me that he was willing to give me all they [sic] desired Information, but said he, ‘I have little advice to offer. You are a clean worker in which lies the great secret of Photography.’ He then showed me the Manipulation of the Camera and Developing dishes.…” I thank Joni Kinsey for this reference.

70. Reilly, , “Outdoor Work”Google Scholar; quoted in Hickman, and Palmquist, , “Reilly … Part II,” p. 17Google Scholar. According to Hickman and Palmquist, Reilly's article was also reprinted in the Photographic News.

71. Hoffman, Charles F. to Brewer, William H., 10 29, 1867Google Scholar, Brewer Papers, Yale University Library; quoted in Palmquist, , Lawrence & Houseworth, p. 30.Google Scholar

72. My thanks to Prof. Allen Staley of Columbia University for suggesting this parallel.

73. New York Post, 04 22, 1864Google Scholar; quoted in Anderson, Nancy K. and Ferber, Linda S., Albert Bierstadt: Art & Enterprise, Exhibition Catalogue (Brooklyn Museum in association with Hudson Hills Press, 1990), p. 180.Google Scholar

74. San Francisco Bulletin, 11 22, 1870, p. 3Google Scholar; quoted in Cummings, Hildegard, “Gilbert Munger: On the Trail,” William Benton Museum of Art Bulletin 10 (Storrs: University of Connecticut, 1982), p. 9Google Scholar. Watkins's photograph of Munger working on a four-foot canvas is reproduced in Palmquist, , Watkins, p. 40.Google Scholar

75. See “Photograph Studies,” p. 1.Google Scholar

76. See Huth, Hans, “Yosemite: The Story of an Idea,” Sierra Club Bulletin 33 (03 1948): 70Google Scholar. Watkins's photograph of Hill and Williams at their Yosemite campsite is reproduced in Palmquist, , Watkins, p. 20.Google Scholar

77. Avery, Benjamin P., “Art Beginnings on the Pacific” Overland Monthly 1 (08 1868): 116.Google Scholar

78. “Photograph Studies,” cited in Hood, and Haas, , “Muybridge's Yosemite Valley Photographs,” pp. 21 and 26 n. 25.Google Scholar

79. See Cock, Elizabeth M., The Influence of Photography on American Landscape Painting, 1839–1880 (Ph.D. diss., New York University, 1967Google Scholar; also published New York: Garland, 1977); and Lindquist-Cock, Elizabeth, “Stereoscopic Photography and the Western Paintings of Albert Bierstadt,” Art Quarterly 33 (Winter 1970): 361–78.Google Scholar

80. Thomas Ayres's drawings have been reproduced in Robertson, David, West of Eden: A History of the Art and Literature of Yosemite (Yosemite, Cal.: Copublished by Yosemite Natural History Association and Wilderness Press, 1984)Google Scholar; and Truettner, William H. and Bolton-Smith, Robin, National Parks and the American Landscape, Exhibition Catalogue (Smithsonian Institution and the National Collection of Fine Arts, 1972).Google Scholar

81. For subscribers to the 1868 series, see Hendricks, , Muybridge, pp. 17–18Google Scholar; for subscribers to the 1872 series, see Hood, and Haas, , “Muybridge's Yosemite Valley Photographs,” p. 17.Google Scholar

82. Bierstadt's ownership of a large number of Watkins's photographs is noted in Palmquist, , Watkins, p. 20Google Scholar. Many were apparently donated to the New Bedford Whaling Museum in Massachusetts, but have since been deaccessioned. See also Carleton Watkins, business notebook of 1864, approx. 3 × 5 in., Bancroft Library, Berkeley, California. Entries for January 28/29/30, February 9/10/11 (“Burgess”), and August 13/14/15 (“Denny”).

83. The Watkins photographs owned by Hill were handed down in the artist's family until they were donated to the Oakland Museum (see Palmquist, , Watkins, p. 21 n. 53).Google Scholar

84. The Yosemite landscape that Thomas Hill painted in Paris was carried by Montgomery Gallery, San Francisco, in January, 1990. It is inscribed “Paris 1867” in the bottom right corner. A very similar painting is Hill, 's Yosemite Valley (1867, private collection, 26¼ × 42½ in.)Google Scholar, reproduced in Arkelian, Marjorie Dakin, Thomas Hill: The Grand View, Exhibition Catalogue (Oakland Museum, 1980), p. 45.Google Scholar

85. “Art Jottings,” California Mail Bag 7 (06 1875): 116–17Google Scholar; quoted in Palmquist, , Watkins, pp. 20–21.Google Scholar

86. Cornelius, , Keith, vol. 2, p. 246Google Scholar. According to Cornelius, Keith owned photographs by Watkins and by his friend the photographer Archie Treat; Keith was also a friend of the photographer William Henry Jackson.

87. Smillie, , “Diaries,” entries for 08 26, 31Google Scholar, and September 4, Microfilm roll 2849, frames 1243, 1245, and 1247.

88. Smillie, , “Diaries,” entry for 07 28, 1871Google Scholar, Microfilm roll 2849, frame 1228.

89. As quoted in d'Estrella, Theophilus, “Virgil Williams' Art Notes to a Deaf-Mute Pupil,” Overland Monthly (03 1887): 294.Google Scholar

90. Philadelphia Photographer 21 (1884): 7–8Google Scholar; quoted in Wilmerding, John, William Bradford 1823–1892, Exhibition Catalogue (DeCordova and Dana Museum and Park, Lincoln, Mass., 1969), pp. 39–40Google Scholar. See also Dunmore, J. L., “The Camera Among the Icebergs,” Philadelphia Photographer 6 (11 10, 1869): 412–14.Google Scholar

91. Inness's Yosemite paintings are listed in Ireland, LeRoy, compiler, The Works of George Inness: An Illustrated Catalogue Raisonne (Austin: University of Texas Press, 1965), pp. 386–87Google Scholar. One painting is illustrated. Inness's remark that Yosemite “couldn't be painted” is mentioned in Cornelius, , Keith, p. 217.Google Scholar

92. Ayres's and Tirrell's drawings of Vernal Falls are owned by the Yosemite Museum.

93. See Scharf, Aaron, Art and Photography (1968; rept. Baltimore: Pelican, 1975), p. 162Google Scholar; and Newhall, Beaumont, The History of Photography from 1839 to the Present, rev. ed. (New York: Museum of Modern Art and New York Graphic Society, 1982), p. 14.Google Scholar

94. See, for example, Scamoni, M., “M. Goupil's Method of Reproducing Oil Paintings,” Anthony's Photographic Bulletin 2, (12 1871): 393Google Scholar. For more on the subject, see Scharf, , Art and Photography, p. 160ff.Google Scholar

95. Twelve mammoth plate photographic copies of paintings and drawings by Virgil Williams, ca. 1871, Library, California Historical Society, San Francisco. The folio is inscribed, “To Mr. Josiah Hasbrooke with regards of the artist.” Several of the drawings, dated 1870, 1871, and 1872, depict hunting and fishing scenes; there are also images of moose, deer, quail, sailboats at sea, and a haying scene. An article in the San Francisco Bulletin, announcing Williams's intention to have his drawings photographed, gives us an approximate date for the photographs (San Francisco Bulletin, February 10, 1871; transcript seen in Thomas Hill file, Archives of California Art, The Oakland Museum).

96. Bierstadt, 's The Rocky MountainsGoogle Scholar, engraved by James Smillie (James D. Smillie's father), was occasionally given away by Bierstadt as a token of friendship or appreciation. An example is a prepublication proof of the print that was presented to Senator William P. Frye of Lewiston, Maine, according to an inscription in the lower right margin: “Hon. William P. Frye with the Compliments of A. Bierstadt” (this proof was auctioned in 1989 by C. E. Guarino of Denmark, Maine).

97. Mozley, Anita Ventura, Haas, Robert Bartlett, and Forster-Hahn, Francoise, Eadweard Muybridge: The Stanford Years, 1872–1882, Exhibition Catalogue (Stanford University, Palo Alto, California, 1972), pp. 62–64.Google Scholar