Opening Hours
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Rare Books
The Prince of Wales at the tomb of Washington
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Rare Books
Image not available
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Image not available
Visual Materials
The 282 photographic prints in this collection document voyages of the United States Revenue Cutters "Bear," "Corwin," and "Richard Rush" to Alaska and the Arctic Ocean in the 1880s and 1890s. The images depict the boats, Captain Michael A. Healy, Frank A. Healy (Healy's son), the crewmen of the afore-mentioned revenue cutters; Alaskan natives and their homes; and various views of the Alaskan wilderness and towns. The collection provides insight into the people and events the "Bear" and "Corwin" encountered on their voyages while under the command of Healy. The collection also depicts Alaskan native graves; missionaries; whaling ships; ice fields in the Arctic Ocean; J.B. Vincent, a survivor of the shipwrecked "Napoleon"; Francis "Frank" Fuller, murderer of Archbishop Charles John Seghers; Alaskan native umiaks and various artifacts; and reindeer stations. Photographers who contributed to this collection include H.W. Bradley, Edward DeGroff, Lt. C.D. Kennedy of the USRC Maine, Geoff Knight, William H. Rulofson, and I.W. Taber. See also photCL 97 for related photographs concerning the "Corwin". The photographs were originally part of the Huntington's Manuscripts collection for Papers of Michael A. Healy, 1881-1900, call number mssHM 47577-47618.
photCL 131
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Rare Books
260843
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Visual Materials
This is a collection primarily of negatives and photographic prints depicting the growth of Santa Monica and Los Angeles, California, from 1860s to 1980s. Many views are cityscapes or street views, showing buildings, storefronts, homes and roads, and documenting the use of railroads, trolleys, streetcars, and automobiles. There are many card photographs by early professional photographers, and also a number of snapshots made by amateurs, some in personal photo albums. The collection's scope also includes early views of many other communities in Southern California (and a few in other states); the beginnings of aviation in Santa Monica, including the first Douglas Aircraft Company buildings; a photo album of residents in Topanga Canyon, ca. 1913; automobile racing in Los Angeles and Santa Monica, 1920s; maritime views; a photo album of U.S. troops in France during World War I; a 1949 real estate development in Apple Valley, California, and others. Besides photographs, a portion of the collection consists of scarce publications and historical ephemera, primarily related to Santa Monica and Los Angeles, including brochures, advertising cards, menus, event programs and other materials. Highlights of the Santa Monica images are aerial views of the buildings along the coast and pier (1920s); several views of the Arcadia Hotel (1880s); the Long Wharf and adjoining railroad and train depot; the first bath houses on the beach; the beach club culture of the 1920s and 1930s; the amusement piers of Santa Monica, Ocean Park and Venice; and the beginnings of the Douglas Aircraft Company. There is a large set of promotional photographs made late 1920s-1930s by Powell Press Service depicting people enjoying Santa Monica's beaches, clubs and outdoor recreation. An important subset within the collection is 407 negatives made ca. 1890 - 1908 by Los Angeles historian and amateur photographer George W. Hazard (1842-1914). Hazard travelled around Los Angeles and vicinity photographing the adobes, houses, streets and storefronts that told the early history of the city. Many of Hazard's negatives have handwritten identifications, naming streets, former homeowners, ranchos, and other historical details. There are a large number of cabinet cards and other card-mounted prints and stereographs. There are 1,264 stereograph prints, highlighted by the works of photographic pioneers William M. Godfrey, Francis Parker, Hayward & Muzzall, and Carleton Watkins. Other formats represented are: glass and film negatives; panoramic prints; 7 photograph albums, photographic postcards, 20th-century color prints and transparencies; and a small number of tintypes, cyanotypes and a set of chromolithographs.
photCL 555
