Opening Hours
Daily: 10 A.M.–5 P.M.
Closed on Tuesdays
1151 Oxford Road
San Marino, CA 91108
Rare Books
Lew Tyler's wives : a novel
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
A disbound album of primarily portrait photographs of Plains Indians, taken by photographer William E. Irwin from the 1890s to early 1900s, in Indian Territory. His images document the Chiricahua Apache, Comanche, and Kiowa Indians who lived near Anadarko and Fort Sill, Oklahoma; some photographs may have been taken at Irwin's studio at Chickasha, Indian Territory. Besides the studio and field portraits, there are also candid views illustrating late 19th-century Plains Indians in their daily lives; several views of cowboys and cow herding; Fort Sill; tepees; landscapes; and one view of a Wichita Indian grass house or wickiup. Notable portraits include those of Geronimo, seated, posing with headdress and revolver; Appeahtone (Kiowa Chief) and his wife; and Quanah Parker (Comanche Chief) with two of his wives. Many of the photographs focus on Comanche and Kiowa Indians posing for studio portraits. These portraits depict infants and children, young women, mothers, scouts, and warriors, many identified by name. Named individuals include Poor Buffalo, White Buffalo, Lone Wolf, and Little White Shield, among others. Field photographs show Apache, Kiowa, and Comanche encampments; a Wichita grass house; both cowboys and Indians caring for their herds; and views in and around Anadarko and Fort Sill, Oklahoma.
photCL 161
Image not available
Rare Books
"The theft of a valuable painting. The long-ago disappearance of a famous artist. A murder as deceptive as magicians' illusion. A horrendous--but not buried--explosion of family hatred. These are the nerve centres of Ross Macdonald's new Lew Archer novel, the richest we have had from the author of 'the best detective novels ever written by an American' (New York Times)--a fusion of unfaltering suspense with dramatic revelation of the way lives are shaped and misshaped in the flow of time, in the hidden and dangerous emotional currents beneath the surface of family history. The time is now; the place, Southern California. The stolen canvas that Archer has been hired to retrieve is reputed to be the work of the celebrated Richard Chantry, who vanished in 1950 from his home in Santa Teresa. It is the portrait of an unknown woman--and on its trail Archer moves with edgy competence among the intrigues of dealers and collectors. Until suddenly he is drawn into a web of family complications and masked brutalities stretching back fifty years through a world where money talks or buys silence, where social prominence is a murderous weapon, where behind the plausible façades of homes not quite broken but badly bent, a heritage of lies and evasions pushes troubled men and woman deeper into trouble. And as he pursues the Chantry portrait--and the larger mystery of Richard Chantry--Archer himself is shaken as never before: Archer himself is shaken as never before: Archer, the solitary traveller, the loner who has through the years deliberately addressed himself to the deciphering of other people's lives, is thrust into an inescapable encounter with a woman who will complicate his own..."--Page [1].
636046