Vest pocket pictures | Collections | The Huntington

Vest pocket pictures | Collections | The Huntington

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Rand-McNally Vest Pocket Map of California
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
The story of my life as affected by polygamy [microform], 1948
Manuscripts
Microfilm of two drafts of Mary Bennion Powell's The Story of My Life as Affected by Polygamy. The first, shorter draft describes the polygamous past of Mary's family, including the plural marriages of her grandfather John Bennion, which she writes led to much unhappiness in her father's childhood, and the story of her mother's widowed mother Mary Ann Frost and her plural marriage to Parley Pratt and the monogamous marriage of her grandparents Oscar Winters and Mary Ann Stearns (Mary describes that Mary Ann, pressured by the Church, convinced her husband to enter a plural marriage with her mother Mary Ann Frost, which was quickly annulled). Much of the document focuses on "the struggle with the horror of polygamy," and particularly of Mary's hatred of her father Heber Bennion's third wife Mayme Bringhurst, who he married after "an unfortunate experience" and "ensuing scandal" between her and his brother. Mary writes scathingly of "this creature" Mayme and the disaster she brought on the family (Mary ascribes the deaths of her sisters and mother to polygamy) and that when she found out her father had married Mayme he became "a monster hideous beyond description." The second draft was written for the Sociology Department of the University of Wisconsin in 1948, to be used as "case material in a study of Mormon sex mores." The content is similar to the first draft although includes more writings on Heber's childhood, his resignation as bishop of Taylorsville over polygamy issues, Mary's indictments of the Mormon Church's approach to polygamy, and more of Mayme's infamy, including her dressing "like a prostitute" and behaving as a "kept woman." Mary concludes the draft with the note "Please, sirs, will you tell me why I can't stop hating them, after all these years." Also included are various letters Mary wrote to the University of Wisconsin regarding the project, as well as a letter to T.C. McCormick in which she enquires about libel laws.
MSS MFilm 00170