Prickly pear cactus. [Opuncia Vulgaris]

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  Cactus Tree S. Main St., Los Angeles

  Visual Materials

  View of a prickly cactus tree on the sidewalk in front of 311 South Main Street in downtown Los Angeles, California, with a sign "School and Kindergarten" visible.

  photCL 555

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  Street view in Los Angeles

  Visual Materials

  View of a boy standing next to a prickly cactus tree on the sidewalk in front of 311 South Main Street in downtown Los Angeles, California.

  photCL 555

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  Old Round House, South Main St., Los Angeles, Cal

  Visual Materials

  View from the street of the twelve-sided conical-roof house known as the "Round House," at 311 South Main Street in downtown Los Angeles, California, with an African American child leaning against the fence at left and a prickly cactus tree on the front sidewalk.

  photCL 555

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  Photo of H.F. Rile, photographer, with prickly pear cactus

  Visual Materials

  Image of photographer Harry Frantz Rile, standing next to a prickly pear cactus bearing fruit in Santa Monica, California.

  photCL_555_01_1359

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  Main Street, Los Angeles, Cal

  Visual Materials

  Street view looking north on Main Street in downtown Los Angeles, California, as seen presumably from about the intersection with Requena Street (later Market Street) with the three-story Italianate Temple Block building visible in the background at center left next to two buildings of decreasing height that were also part of the Temple Block, with the two-story building at closest left housing the Wells Fargo & Co. Express office. At right, storefront signs can be seen including a sculpture of a boot with the sign "Boots & Shoes" and an obscured sign including the letters "ne Haba." With a horse-drawn wagon, wooden sidewalk, and dirt road visible.

  photCL 555

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  Cactus gigantea, or Prickly pear – San Jose Valley. (Imprint no: 76)

  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.