Visual Materials
Luiseños, San Luis Rey
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Luiseños, San Luis Rey
Visual Materials
A collection of glass plate and film negatives by amateur photographer and Los Angeles real estate broker George P. Thresher focusing on the American Southwest and Native Americans of the region, particularly of Arizona, and the Gila River crossing area, from ca. 1898 to 1910. The majority of the Thresher Collection contains images of towns and sites in Arizona, including Phoenix, Mission San Xavier del Bac, Montezuma Castle, Peach Springs, and adobe ruins. Photographs of Texas are well represented in the collection, including many views of Missions San Concepcion, San Antonio de Valero (the Alamo), San Francisco de la Espada, and Mission San Jose y San Miguel de Aguayo. There are also images of Colorado (Garden of the Gods, Pike's Peak, and Castle Rock), New Mexico (Santa Fe, Tesuque, and possibly Laguna), and unidentified pueblos. Notable portraits from California are of Victoriano, chief of the Soboba Indians, and his unnamed third wife. There is a separate and very interesting sequence of images depicting the Mount Beauty Mine and its operations in San Diego County, California. A small assortment of lantern slides is at the end of the collection showing Indians of Arizona, California, and New Mexico.
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Three Luiseños, San Luis Rey
Visual Materials
A collection of glass plate and film negatives by amateur photographer and Los Angeles real estate broker George P. Thresher focusing on the American Southwest and Native Americans of the region, particularly of Arizona, and the Gila River crossing area, from ca. 1898 to 1910. The majority of the Thresher Collection contains images of towns and sites in Arizona, including Phoenix, Mission San Xavier del Bac, Montezuma Castle, Peach Springs, and adobe ruins. Photographs of Texas are well represented in the collection, including many views of Missions San Concepcion, San Antonio de Valero (the Alamo), San Francisco de la Espada, and Mission San Jose y San Miguel de Aguayo. There are also images of Colorado (Garden of the Gods, Pike's Peak, and Castle Rock), New Mexico (Santa Fe, Tesuque, and possibly Laguna), and unidentified pueblos. Notable portraits from California are of Victoriano, chief of the Soboba Indians, and his unnamed third wife. There is a separate and very interesting sequence of images depicting the Mount Beauty Mine and its operations in San Diego County, California. A small assortment of lantern slides is at the end of the collection showing Indians of Arizona, California, and New Mexico.
photCL 449
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Possibly San Luis Rey
Visual Materials
This collection includes photos of eleven California missions and their grounds during a restoration period from the late 1940s to the mid-1950s. Notable missions that are depicted include San Fernando Rey de España, San Luis Rey de Francia, Santa Barbara, and Santa Inés. Photographs were taken by Jasper Schad and Brother Barnabas of Mission San Luis Rey.
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Ancient Belles of San Luis Rey ; Women who helped build the Mission
Visual Materials
Three Indian women sitting outside of the San Luis Rey Mission courtyard.
photCL Pierce 02870
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San Luis Rey
Visual Materials
This photograph album is made up of early 20th century photographs of eight California missions, in both ruined and repaired states. The missions that are depicted in the album are San Luis Rey, Santa Ines, San Fernando Rey, San Miguel, San Francisco Dolores, San Luis Obispo, San Gabriel, San Juan Capistrano, and San Carlos Borromeo. Other photographs also show San Antonio de Pala Asistencia, the Church of Our Lady the Queen of the Angels (also known as Plaza Church), and the Royal Presidio Chapel. Two photographs depict people alongside the missions: photograph (8) shows people going into the Mission San Francisco de Asís and photograph (15) shows two Native American children at Mission San Fernando Rey. One photograph of particular interest is that of a group of Native American school children with three Catholic nuns, who presumably may be their teachers. They are standing in front of an unidentified church building. Some of the photographs are faded or are peeling off the album pages and are bent. Charles Ironmonger is the only photographer that has been identified as a contributor to this album; all other photographers have not been identified.
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