cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.25549/chs-m1769
title: Exterior view of the Gilmore adobe at Rancho La Brea, [s.d.]

description: Photograph of the exterior of the Gilmore adobe at Rancho La Brea, [s.d.]. The simple building has wooden shingles and a brick chimney on its roof. Most of the front side is hidden from view by a group of young trees, but there is a single window with open shutters visible on the wall. It was built by John Thompson in 1852 and expanded and renovated by Arthur Gilmore around 1900. Later, it was marked on June 28, 1930 by the Native Daughters of the Golden West Parlor #247.; "From humble origins it became the seat of a gas and oil empire whose idiosyncratic promotional images dotted the Western landscape. But while the kingdom has been downsized, the Gilmore Adobe endures in modest anonymity, an idyllic vestige of another time. Nestled between Farmers Market and CBS studios, shielded from public view by a fortress of foliage, the Gilmore Adobe dates back to 1852. Originally called the Rancho La Brea Adobe, it eventually became the home of rancher-turned-oilman Arthur F. Gilmore, whose brilliantly eccentric son Earl turned the Gilmore Oil Company into a legendary part of America's burgeoning car culture. Today [2002], the adobe--which now serves as headquarters for the A.F. Gilmore Company, owner and operator of Farmers Market (as well as the adjacent Gilmore Bank)--stands as a bucolic island of tranquility in the heart of the city. The building is an elegant hybrid of California Mission and Spanish Colonial, reflecting a series of renovations over the past century. While modern amenities have been added, original features such as the wood-and-clay-brick ceiling have been preserved. Earl Gilmore's bedroom--remarkably small for a titan of modern capitalism--remains frozen in time, complete with his extensive pipe collection and elaborately designed horse saddle. Outside, terracotta tiles adorn a courtyard where Rudolph Valentino once preened for the camera in Four Horsemen of the Apocalypse. Chickens roam the northern side of the property, while on the eastern edge a pair of towering Mexican fan palms keep watch over the adobe (which is closed to the general public). From inside the grounds, one can almost envision 19th century Los Angeles--a city without cars or freeways or smog, awaiting men like Earl Gilmore and the onslaught of the future." -- Danny Feingold.
DOI: 10.25549/chs-m1767
title: Adobe courtyard at the Rancho La Brea, later known as Gilmore Ranch, [s.d.]

description: Photograph of an adobe courtyard at the Rancho La Brea, later known as Gilmore Ranch, [s.d.]. The walls of the adobe form a U-shaped enclosure around the courtyard, and there are two doors visible: a screen door on the back wall and a wooden one on the left wall. In the foreground on the right is an overhang with a straw roof supported by wooden posts over an adobe brick floor. The roof is made of terra cotta tiles. Around the edge of the courtyard are benches, shelves and racks which hold assorted pots and blankets. There are several chickens running around in the middle of the courtyard. The original adobe was built by James Thompson in 1851. Arthur Gilmore began expanding and renovating the home around 1900.; "From humble origins it became the seat of a gas and oil empire whose idiosyncratic promotional images dotted the Western landscape. But while the kingdom has been downsized, the Gilmore Adobe endures in modest anonymity, an idyllic vestige of another time. Nestled between Farmers Market and CBS studios, shielded from public view by a fortress of foliage, the Gilmore Adobe dates back to 1852. Originally called the Rancho La Brea Adobe, it eventually became the home of rancher-turned-oilman Arthur F. Gilmore, whose brilliantly eccentric son Earl turned the Gilmore Oil Company into a legendary part of America's burgeoning car culture. Today [2002], the adobe--which now serves as headquarters for the A.F. Gilmore Company, owner and operator of Farmers Market (as well as the adjacent Gilmore Bank)--stands as a bucolic island of tranquility in the heart of the city. The building is an elegant hybrid of California Mission and Spanish Colonial, reflecting a series of renovations over the past century. While modern amenities have been added, original features such as the wood-and-clay-brick ceiling have been preserved. Earl Gilmore's bedroom--remarkably small for a titan of modern capitalism--remains frozen in time, complete with his extensive pipe collection and elaborately designed horse saddle. Outside, terracotta tiles adorn a courtyard where Rudolph Valentino once preened for the camera in Four Horsemen of the Apocalypse. Chickens roam the northern side of the property, while on the eastern edge a pair of towering Mexican fan palms keep watch over the adobe (which is closed to the general public). From inside the grounds, one can almost envision 19th century Los Angeles--a city without cars or freeways or smog, awaiting men like Earl Gilmore and the onslaught of the future." -- Danny Feingold.
DOI: 10.25549/chs-m1768
title: Exterior view of the Gilmore Adobe on Rancho La Brea, [s.d.]

description: Photograph of the exterior of the Gilmore Adobe on Rancho La Brea, [s.d.]. The adobe building has a terra cotta tile roof with two chimneys protruding from it. There are three rectangular windows with heavy wooden shutters visible along the wall. To the left of the middle window, there is a wooden butter churn and a wooden bucket; to the right of the left window are two sacks of flour and another wooden bucket. There is a vine growing up the side of the house near the window on the right. There is a tree in the background. Rancho La Brea adobe built by James [John?] Thompson in 1852 and expanded and renovated by Arthur Gilmore around 1900. Marked on June 28, 1930 by the Native Daughters of the Golden West Parlor #247.; "From humble origins it became the seat of a gas and oil empire whose idiosyncratic promotional images dotted the Western landscape. But while the kingdom has been downsized, the Gilmore Adobe endures in modest anonymity, an idyllic vestige of another time. Nestled between Farmers Market and CBS studios, shielded from public view by a fortress of foliage, the Gilmore Adobe dates back to 1852. Originally called the Rancho La Brea Adobe, it eventually became the home of rancher-turned-oilman Arthur F. Gilmore, whose brilliantly eccentric son Earl turned the Gilmore Oil Company into a legendary part of America's burgeoning car culture. Today [2002], the adobe--which now serves as headquarters for the A.F. Gilmore Company, owner and operator of Farmers Market (as well as the adjacent Gilmore Bank)--stands as a bucolic island of tranquility in the heart of the city. The building is an elegant hybrid of California Mission and Spanish Colonial, reflecting a series of renovations over the past century. While modern amenities have been added, original features such as the wood-and-clay-brick ceiling have been preserved. Earl Gilmore's bedroom--remarkably small for a titan of modern capitalism--remains frozen in time, complete with his extensive pipe collection and elaborately designed horse saddle. Outside, terracotta tiles adorn a courtyard where Rudolph Valentino once preened for the camera in Four Horsemen of the Apocalypse. Chickens roam the northern side of the property, while on the eastern edge a pair of towering Mexican fan palms keep watch over the adobe (which is closed to the general public). From inside the grounds, one can almost envision 19th century Los Angeles--a city without cars or freeways or smog, awaiting men like Earl Gilmore and the onslaught of the future." -- Danny Feingold.
DOI: 10.25549/chs-m1771
title: Exterior view of the Gilmore Adobe on Rancho La Brea, [s.d.]

description: Photograph of the exterior of the Gilmore Adobe on Rancho La Brea, [s.d.]. The roof of the building is made of terra cotta roof tiles, and there is an adobe chimney on the left side. There are two wooden doors with large inset windows on the right side of the image, while between them is a tall wooden post with a bell on top. There are three identical wood-framed windows on the right end of the building, and a covered porch is visible on the left edge of the image. There are several trees visible, including a palm tree in the background on the left and a pepper tree in the foreground on the right. Rancho La Brea adobe built by James [John?] Thompson in 1852 and expanded and renovated by Arthur Gilmore around 1900. Marked on June 28, 1930 by the Native Daughters of the Golden West Parlor #247.; "From humble origins it became the seat of a gas and oil empire whose idiosyncratic promotional images dotted the Western landscape. But while the kingdom has been downsized, the Gilmore Adobe endures in modest anonymity, an idyllic vestige of another time. Nestled between Farmers Market and CBS studios, shielded from public view by a fortress of foliage, the Gilmore Adobe dates back to 1852. Originally called the Rancho La Brea Adobe, it eventually became the home of rancher-turned-oilman Arthur F. Gilmore, whose brilliantly eccentric son Earl turned the Gilmore Oil Company into a legendary part of America's burgeoning car culture. Today [2002], the adobe--which now serves as headquarters for the A.F. Gilmore Company, owner and operator of Farmers Market (as well as the adjacent Gilmore Bank)--stands as a bucolic island of tranquility in the heart of the city. The building is an elegant hybrid of California Mission and Spanish Colonial, reflecting a series of renovations over the past century. While modern amenities have been added, original features such as the wood-and-clay-brick ceiling have been preserved. Earl Gilmore's bedroom--remarkably small for a titan of modern capitalism--remains frozen in time, complete with his extensive pipe collection and elaborately designed horse saddle. Outside, terracotta tiles adorn a courtyard where Rudolph Valentino once preened for the camera in Four Horsemen of the Apocalypse. Chickens roam the northern side of the property, while on the eastern edge a pair of towering Mexican fan palms keep watch over the adobe (which is closed to the general public). From inside the grounds, one can almost envision 19th century Los Angeles--a city without cars or freeways or smog, awaiting men like Earl Gilmore and the onslaught of the future." -- Danny Feingold.
DOI: 10.25549/chs-m5521
title: Glass-bottomed boat "Cleopatra" off the coast of Santa Catalina Island, ca.1898

description: Photograph of the glass-bottomed boat "Cleopatra" off the coast of Santa Catalina Island, ca.1898. The boat is a side-wheel power boat and its deck is crowded with people, including uniformed crew members. There are three flags flying from the boat: an American flag on the back, a black and white striped flag on a tall pole in the middle, and a light flag with many dark stars flying near the bow. The steep slopes of the island are visible in the background in the left, along with a pair of small boats on the right.
DOI: 10.25549/chs-m1770
title: Gilmore Adobe on Rancho La Brea, [s.d.]

description: Photograph of the Gilmore Adobe on Rancho La Brea, [s.d.]. There is a large fountain surrounded by low bushes at the center of the image. The house is behind this. It is u-shaped, with both the right and the left sides protruding further towards the camera than the middle. On the right side there are three identical rectangular windows, while on the left is a single large rectangular window flanked by heavy shutters. The front door is visible in the middle of the  house, with thick wooden posts on both sides. There is a large palm tree in the background, and there is a pepper tree in the foreground on the right. Rancho La Brea adobe built by James (John?) Thompson in 1852 and expanded and renovated by Arthur Gilmore around 1900. Marked on June 28, 1930 by the Native Daughters of the Golden West Parlor #247.; "From humble origins it became the seat of a gas and oil empire whose idiosyncratic promotional images dotted the Western landscape. But while the kingdom has been downsized, the Gilmore Adobe endures in modest anonymity, an idyllic vestige of another time. Nestled between Farmers Market and CBS studios, shielded from public view by a fortress of foliage, the Gilmore Adobe dates back to 1852. Originally called the Rancho La Brea Adobe, it eventually became the home of rancher-turned-oilman Arthur F. Gilmore, whose brilliantly eccentric son Earl turned the Gilmore Oil Company into a legendary part of America's burgeoning car culture. Today [2002], the adobe--which now serves as headquarters for the A.F. Gilmore Company, owner and operator of Farmers Market (as well as the adjacent Gilmore Bank)--stands as a bucolic island of tranquility in the heart of the city. The building is an elegant hybrid of California Mission and Spanish Colonial, reflecting a series of renovations over the past century. While modern amenities have been added, original features such as the wood-and-clay-brick ceiling have been preserved. Earl Gilmore's bedroom--remarkably small for a titan of modern capitalism--remains frozen in time, complete with his extensive pipe collection and elaborately designed horse saddle. Outside, terracotta tiles adorn a courtyard where Rudolph Valentino once preened for the camera in Four Horsemen of the Apocalypse. Chickens roam the northern side of the property, while on the eastern edge a pair of towering Mexican fan palms keep watch over the adobe (which is closed to the general public). From inside the grounds, one can almost envision 19th century Los Angeles--a city without cars or freeways or smog, awaiting men like Earl Gilmore and the onslaught of the future." -- Danny Feingold.
DOI: 10.25549/chs-m19143
title: Exterior view of houses with a tall tree in front, [s.d.]

description: Photograph of the exterior view of houses with a tall tree in front, [s.d.]. The plant is thin and tall and resembles a palm tree at its base and a conifer at the top. The tree is a fourcroya bdeinghousii(?). There is a small plant in a cylindrical pot next to the large tree. Two modest clapboard houses are visible, separated by a wooden fence. There is a tree on the far side of the fence at right and branches of a palm tree and another tree at left in the foreground.
DOI: 10.25549/chs-m8726
title: Drawing of San Diego and the bay, ca.1846

description: Photograph of a drawing by Major W. H. Emory, U.S. Army, of San Diego and the bay, ca.1846. The small town is visible in the foreground, set up in an L-shape. There is a line of six tents on the left side of the image, in front of the rest of the town. There is a very large American flag in the middle of the image. The bay is visible on the left side, along with several islands. There is a slowly rising hill on the right side of the image, as well as a ridge in the background.
DOI: 10.25549/chs-m14016
title: Drawing showing gold digging and washing in Placer County, ca.1900

description: Photograph of a drawing showing gold digging and washing in Placer County, ca.1900. Several different techniques are shown: in the background at left, a man is pushing a cart out of an underground mine; in the lower left corner a man is panning for gold; in the foreground at right, three prospectors shovel gold into a box full of running water; at center, three miners are pulling a bucket up from a well and in the background at right, a group of men is shoveling dirt into a long aqueduct. All of the men are wearing broad-brimmed hats, long pants and long-sleeved shirts.
DOI: 10.25549/chs-m14779
title: Two Hopi burros standing among corn ears and husks on the ground, ca.1900

description: Photograph of two Hopi burros standing among corn ears and husks on the ground, ca.1900. One is black, the other is brown. They are both saddled. The landscape is completely flat as far as is visible.
DOI: 10.25549/chs-m19150
title: Drawing of Saint Francis of Assisi surrounded by woodland animals, [s.d.]

description: Photograph of a drawing of Saint Francis of Assisi, [s.d.]. The saint is seated at center and is wearing the robes of a monk. He has a halo around his bearded head and is surrounded by many animals, including deer, rabbits and birds. Saint Francis is holding a small book on the right side of the image. Two hooded monks stand in the background at right. There are many trees in the background as well, and a cliff is visible in the distance.
DOI: 10.25549/chs-m7534
title: Sketch depicting the capture of Monterey and the raising of the U.S. flag on July 7, 1846

description: Photograph of a sketch depicting the capture of Monterey and the raising of the U.S. flag on July 7, 1846. The flag is being raised by a man climbing on a flagpole near the customs house, a two story building on the right side of the image. There is a large crowd gathered at the base of the flagpole, including several lines of soldiers, some of which are raising their hats in the air. In the background on the right side of the image are three ships that have fired their cannon in celebration.
DOI: 10.25549/chs-m9714
title: Drawing depicting San Francisco, 1849

description: Photograph of a drawing depicting San Francisco, 1849. The city is visible on the left side of the image, surrounded by hills. It is composed mostly of small buildings with peaked roofs, although there are several larger buildings as well. On the right side of the image is San Francisco Bay, which is crowded with both steam- and sail- powered ships as well as an assortment of small boats. In the foreground there are three tents set up on a hill, and three people are visible walking nearby.
DOI: 10.25549/chs-m2721
title: Aerial view of Los Angeles showing the McNulty subdivision, ca.1920

description: Photograph of an aerial view of Los Angeles showing the McNulty subdivision, ca.1920. Pico Boulevard, La Cienega Boulevard and Olympic Boulevard are all visible. The famous Carthay Circle theatre, identified by its mission-style tower, is in the upper right corner. The middle of the image is taken up by a housing development; the houses on the right are mostly finished, but most of the lots on the left are empty. There is light automotive traffic on the large boulevards.
DOI: 10.25549/chs-m2807
title: Aerial view from Pico Boulevard to Olympic Boulevard and beyond to La Cienega Boulevard, ca.1930

description: Photograph of an aerial view from Pico Boulevard to Olympic Boulevard and beyond to La Cienega Boulevard, ca.1930. The famous Carthay Circle Theatre is in the background near the middle of the top side of the image; it can be identified by its mission-style tower. The center of the image is taken up by a housing development that is under construction: the houses on the right are finished, but the lots on the left are still mostly empty.
DOI: 10.25549/chs-m9760
title: View of the fire that followed the San Francisco earthquake on April 18, 1906

description: Photograph of a view of the fire that followed the San Francisco earthquake on April 18, 1906. The skyline is blotted out by thick clouds of smoke billowing up from the burning buildings below. The Hotel Franklin with its large dome is on the left side of the image. In the bottom right corner, the street is crowded with horse-drawn vehicles and pedestrians. The lot in the foreground is empty. On the right side of the image, visible in front of the smoke, is a tall thin tower.
DOI: 10.25549/chs-m9756
title: View taken from Chinatown of the fire that followed the San Francisco earthquake, April 18, 1906

description: Photograph of a view taken from Chinatown of the fire that followed the San Francisco earthquake, April 18, 1906. The smoke is visible in the distance, serving as backdrop to highlight the skyline of the city. On the right side of the image is the tower of a cathedral, topped by crosses and with a clock that reads 4:17. There are all buildings in the background, including several with domes and towers. In the foreground in the right corner is a tree.
DOI: 10.25549/chs-m9757
title: Aerial view of the fire that followed San Francisco's earthquake, April 18, 1906

description: Photograph of an aerial view of the fire that followed San Francisco's earthquake, April 18, 1906. The smoke from the fire is visible in the distance, behind a row of three tall sky scrapers. The one on the right is still under construction, while the one in the middle is topped by an elaborate dome structure. In the foreground are mostly houses, as yet untouched by the flames that devastated the rest of the city.
DOI: 10.25549/chs-m9763
title: View of the fire that followed San Francisco's earthquake, April 18, 1906

description: Photograph of a view of the fire that followed San Francisco's earthquake, April 18, 1906. The light-colored smoke from the fire is visible in the background behind an assortment of tall rectangular buildings. On the right side, there are two conical roofs visible. There is a very large building, perhaps a hotel on the left side, and another on the right. There are trees in the lower right corner of the image. Legible signs on the left side include "Gailhard Hotel and Restaurant" and "M.J.B. Coffee Why?".
DOI: 10.25549/chs-m9761
title: Refugees from the fire that followed San Francisco's earthquake, April 18, 1906

description: Photograph from refugees from the fire that followed San Francisco's earthquake, April 18, 1906. The many refugees are in the foreground on a grassy hill, most of them with trunks holding their belongings. The smoke from the fire is visible in the distance behind a row of buildings. One of the buildings on the right side is a tall building with a conical tower. There is a flat roofed building on the left. There are shops on the right with signs that read "Wilson Whiskey" and "Malto Coca".
DOI: 10.25549/chs-m14780
title: Group of Hopi Indians roasting corn in an underground furnace, ca.1900

description: Photograph of a group of six Hopi Indians roasting corn in an underground furnace, ca.1900. There are large piles of corn ears. A burro is standing with three of the people. The landscape visible behind them is very flat for a long distance.
DOI: 10.25549/chs-m9762
title: View of the destruction caused by the fire that followed the San Francisco earthquake, April 18, 1906

description: Photograph of a view of the destruction caused by the fire that followed the San Francisco earthquake, April 18, 1906. There is a large hill in the foreground on the right, and at its base are several closely-spaced burned-out homes. In the background, smoke rises from the fire as it continues to rage throughout the city.
DOI: 10.25549/chs-m9788
title: Call Building on fire in San Francisco after the earthquake, April 18,1906

description: Photograph of the burning Call Building in San Francisco after the earthquake, April 18,1906. The Call Building is on the left of the image and smoke can be seen pouring out of its windows and rising towards the elaborate dome on the roof. There is another tall building to the right of the Call Building; it has not caught fire. There are several pedestrians in the street on the left side. Legible signs include, from left, "Rafael's", "M.A. Gunst & Co.", and "Hotel Graystone".
DOI: 10.25549/chs-m2050
title: Sherman boat crew demonstrating its skill at Playa Del Rey, ca.1902

description: Photograph of the Sherman boat crew demonstrating its skill at Playa Del Rey, ca.1902. The boat is in the foreground, occupied by eight rowers and a coxswain. The rowers are all dressed in similar uniforms composed of white hats, dark shirts and light pants, and the coxswain is in the back standing up. There is a long waterfront on the right side, shored up by wooden supports. On the left there is the Del Rey Hotel. Directly behind the boat is a row of moorings, to which three boats are attached.