Built in 1903, Southern Pacific Santa Susana Depot sat on Los Angeles Ave. East of Tapo Street; it served the Rancho Simi area until the early 1970s when the SP closed it. Falling prey to age and vandalism, the deteriorating building was sold by the railroad for $1.06, and moved 2 miles east to its present site in May 1975 (6503 Katherine Road). After extensive restoration, the depot was reopened in 2000, as a museum and home of the local model railroaders club.
A passenger station, freight station, and telegraph office, it was based on Southern Pacific’s standard No. 22, combination depot plans; the depot has a recently restored stationmaster’s apartment on the second story.
Exhibits between today’s Union Pacific tracks and the depot:
On the second floor of this building, above the Santa Paula Hardware Company and the US Post Office, Union Oil Co. was founded October 17, 1890; when corporate headquarters were moved to Los Angeles in 1900, production offices remained in Santa Paula. In 1950, the building became Union Oil Museum. In 1988, Unocal announced a $2million restoration of the site, creating the California Oil Museum of today.
Much of the stone in the Queen Anne building came from the Santa Paul creek, and the purple Sespe sandstone trim came from a Fillmore quarry. The first floor has permanent interactive exhibits centered on the oil industry in California and rooms for changing exhibits; upstairs the building has been restored to its 19th century corporate Board Room and office space. The rig room, a modern structure adjacent to the original building, has a working, restored 1890s oil rig!
See https://www.caoilmuseum.org/about for more photos and information about current exhibits. I have a personal preference for museums that are interesting for both kids and adults!
Just a quick note on the power of water: I found this dramatic March 18, 1928 USGS photo of the railroad tracks between Castaic Junction and Piru (Calif.), having been moved onto the highway by the flood caused by the Saint Francis Dam failure.
Below is a photo of the dam before it failed on March 12, 1928. From the USGS archives, courtesy of Los Angeles Bureau of Power & Light. Harold Thornton Stearns, photographer
Yesterday is already history, but for some of us, it will be the day the BIG BOY came to Indio.
Needless to say, the crowds ranged from toddlers to the elderly, all here to see one of the largest steam locomotives ever built.
Originally delivered to the Union Pacific in December 1941, Engine No. 4014 has been fully restored and touring the country as part of the celebration of the 150th anniversary of the Meeting of the Rails at Promontory Point in 1869. More information on the Big Boy can be found at https://www.up.com/heritage/steam/4014/
Designed by Swiss-born Modernist architect Albert Frey,* the Yacht Club is an architectural gem sitting in a pretty desolate location, the northeastern shore of the Salton Sea, across Highway 111 and the Southern Pacific tracks from the unincorporated community of North Shore. Built in 1959, the marina was used to dock boats, in an era when the Sea had more visitors per year than Yosemite.
With the jetty long gone and the Yacht Club abandoned and vandalized, in 2009, Riverside County restored the building. For about a year the Salton Sea Museum operated from the building, with over 7000 visitors signing in. Sadly the museum closed, and the facility is now primarily used as a community center by Desert Recreational District. BUT at least it is being used and maintained!
Now the “new” problem is the dropping Sea water level, leaving the inlet to the marina cut off from the Sea. Last month the Coachella Valley Mountains Conservancy** voted to approve a grant, which along with funds from the Bureau of Reclamation and the California Natural Resources Agency, would enable the Salton Sea Authority to rehabilitate the inlet and marina. If you go to Google Maps satellite image of the area, you can see a tiny, compromised inlet from the Sea to the marina. However, last Sunday I went down to take photos and stood “in the inlet,” on dry beach to take the photo below.
Last Spring Desert X https://www.desertx.org/ brought more visitors to the area to see the outdoor art installations around the Coachella Valley, including the Salton Sea. It reminds me a little of Marfa Texas, in that a gem of art, is sitting in an out of the way location.
Next week the Salton Sea Summit will convene at UCR Palm Desert campus; let us hope this will bring needed attention and solutions.
*Albert Frey’s architecture is Desert Modernism, centered on Palm Springs; his work includes the Palm Springs Tramway Valley Station and the Tramway Gas Station, now used an a Visitor’s Center on the entry into the City, as well as City Hall, etc.
I only have a dim memory of this building from my childhood; as I recall, it was ramshackle by that time.
However, in its day, the Trading Post had been important. In April 1927, an article in the Los Angeles Times described an auto tour of the Coachella Valley to see the wild flowers and included a reference to a “fine new swimming pool” at the Coachella Valley Trading Post.
In his reminiscences to Katherine Ainsworth (The Man Who Captured Sunshine, 1978), artist John Hilton told her of picking up some good hints from Charles Safford, a graduate of the Chicago Institute of Art. “Stafford [sic]* lived and worked at the old Coachella Trading Post. He and I decorated the walls with our scenes. We were mighty proud of those pictures, but during World War II, the place became a U.S.O. center and the soldiers used our painting as dart boards.” (Ainsworth , page 99).
I remember seeing a photograph of soldiers posed on the front porch of the Trading Post. During World War II, there were US newspaper articles, across the country, that Mrs. Edward. G. Robinson had organized bus trips for girls from Beverly Hills to travel to the Trading Post to dance with the service men; it cost them $5 and they had to take an oath not to drink alcohol or to leave the premises of the Trading Post during the visit. These trips were even made in August when approximately 2500 Army men would come to dance with the 200 girls, who slept on army cots after the dance; on Sunday they went swimming in the pool before returning to L.A. At least one soldier is reported to have jumped in the pool fully clothed!
I hope to find more history of the building; if you have anything to add, please let me know; thanks.
I have found a real picture photograph (courtesy of the Eastman Collection, Univ. of Calif. Davis, circa 1940s) that shows the adobe building identified as the stage depot erected in 1856. At the time this was taken, the building as adjacent to US Route 80 (now designated as Historic U.S. Route 80 by California). See blog below for current photos.
Not as obscure as some of the other sites, the plank road through the Algodones Sand Dunes of southeastern California, along with the first bridge across the lower Colorado River, allowed the completion of the Coast to Coast Highway (later US 80).
Prior to the late Nineteenth Century the common way to travel from Yuma to the California coast was via northern Mexico. Between the sand dunes and the lack of water, passage north of the border was virtually impossible. From Yuma, the Southern Pacific tracks (Indio to Yuma opened in 1877) turned north shortly after entering California, and ran on the east side of the dunes, rather than crossing what became the Imperial Valley. Irrigation and the resulting agricultural boom in the valley led to people wanting to traverse it, but by train the route required a loop south from Imperial Junction (later Niland) across the valley into Mexico at Calexico, east below the border approximately 50 miles, then north to Araz Junction to rejoin the SP mainline.
In 1915, completion of the Coast to Coast Bridge crossing the Colorado at Yuma and the one lane Plank Road across the dunes enabled vehicular travel on the US side of the border. Originally just two 25″ parallel “tracks” of wood, about a year later, the planks were fastened together in a full 8′ lane as shown in the photos. When the shifting sand drifted over the wood, sections were moved by horse drawn rigs. Turn outs, approximately a quarter of a mile apart, allowed traffic to pull to the side and allow the driver traveling the other direction to pass, sometimes resulting in arguments over right of way.
By 1926, highway construction engineering had advanced to the point that an asphalted concrete road could be built replacing the Plank Road. To see a short stretch of a replica of the original road and the Historical Marker, take exit 156 off Interstate 8, turn west on Grays Wells Road; the site will be on the left side of the road, off a parking lot.
In a remote part of eastern San Diego County, turn south off Highway 78 onto The Great Southern Overland Stage Route (S2) to Vallecito County Park and Stage Station.
Starting with the first known visit by the Spanish in 1781, the oasis at Vallecito became an important stop for Spanish and later Mexican travelers to Alta California; between there and the Colorado River loomed the deadly desert. On November 29th and 30th, 1846, General Stephen W. Kearny and the Army of the West camped in the little valley according to the research of the Kearny Trail by Arthur Woodward (curator of history, Los Angeles Museum; The Kearny Trail Through Imperial and San Diego Counties, manuscript 1931). Subsequently an army supply depot was established, but it was abandoned in 1853.
The original building was expanded by James and Sarah Lassator and their family, and became a stop on the San Antonio-San Diego Mail Line.
In 1858, the Butterfield Overland Mail began its famous passenger stage service from St. Louis, through Yuma, and Vallecito became a “home” stage station where passenger meals were served and horses were changed. The Civil War led to the end of the Butterfield service, but the building continued to serve as a station on other stage lines, only to be abandoned after the railroad was completed from Los Angeles to Yuma in 1877.
In 1919, J. Smeaton Chase published an account of his travels on desert trails, including a photo of the crumbling Vallecito stage station, which he described as:
At the lower end of the valley some arrangement of the strata brings moisture to the surface to form a ciénaga, with a few mesquites and much salt grass and sacation. Near by stood the long-deserted stage-station, …of what at first sight I took to be adobe bricks of the usual kind, but found were blocks of natural sod from the ciénaga. It is the only structure of the kind that I know, and the material appears to answer its purpose well, better in fact than adobe….
Chase, California Desert Trails, p. 247
In 1934, the station was reconstructed of sod (today it is part of the San Diego park system, with primitive campsites available).
As a young woman the artist, Marjorie Reed (1915-1996), became a friend of Captain William Banning (1858-1946), son of Phinneas Banning. In his obituary, The Los Angeles Times (Jan. 28, 1946), reported that “his lifelong hobby, [was] the Concord coaches which he drove as a boy on western transport lines owned by his father…” Reed was so inspired by the Banning’s tales that she devoted much of her art to the Butterfield stage line and its stations; below is one of her paintings of Vallecito as it must have looked on a mid-nineteenth century night.
In 1893, George Durbrow and investors incorporated the New Liverpool Salt Company at Salton, on the Southern Pacific main line, south of Mecca, CA.
Salt was deposited on approximately 1000 acres of dry sea bed (ancient Lake Cahuilla) by seepage from salt springs in the foothills. Although called a mine, the salt works actually resembled a harvest operation, needing only to cut salt from the field, crush it, bag it, and send it by narrow gauge rail to the nearby railway station at Salton. The quality, quantity, and uniqueness of its gathering led to it being featured in an 1899 issue of Strand Magazine and a 1901 issue of the National Geographic Magazine.
In “The Saline Deposits of California,” California State Mining Bureau, Bulletin No. 24 (1902), Gilbert E. Bailey, described the operation: “The sight at the salt works is an interesting one, for thousands of tons are piled up like huge snow drifts,…Indians operate cable plows, harvesting over 700 tons of pure salt per day. A portable railroad conveys the salt to the works.
The [crystal] lake is constantly being supplied by numerous springs in the adjacent foothills, which flow into the basin and quickly evaporate, leaving deposits of very pure salt that vary from 10 to 20 inches in thickness.”
In February 1891, the Colorado overflowed its banks, into the Mexican delta, leaving water standing in low areas. The following June, it overflowed again, reaching the standing water; the resulting flood from the commingled waters reached the Salton Basin, creating a lake approximately 30 miles long and 10 miles wide, but only 5 feet deep. Being shallow, it evaporated, leaving the Salt Works intact.
However, in 1905-1907, when the Colorado River overwhelmed the California Development Co. intakes for the Imperial Canal, the diverted water flooded the Salton Basin creating the Salton Sea. First the salt field was submerged, then the salt plant, and then the town of Salton and the rail lines.