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SAN FRANCISCO CALIFORNIA USA GELATIN PHOTOGRAPH 1906 EARTHQUAKE #3 BLUMBERG PHOTO. With an estimated moment magnitude of 7.9 and a maximum Mercalli intensity of XI (Extreme), it created high-intensity shaking from Eureka on the North Coast to the Salinas Valley, an agricultural region to the south of the San Francisco Bay Area. Devastating fires soon broke out in San Francisco and lasted for several days. More than 3,000 people died and over 80% of the city was destroyed. The event is remembered as the deadliest earthquake in the history of the United States. The death toll remains the greatest loss of life from a natural disaster in California’s history and high on the list of worst American disasters.

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We are not photograph experts, but this is said to be a gelatin silver dye transfer contact sheet artwork. That is also how the other ones that we’ve seen for sale were listed as. Featuring a lone female nude in poses in front of a mirror with her reflection from behind. Artist: Robert Graham (Mexico) 1938. Medium: Gelatin Silver Dye Transfer with acrylic. Edition: 24 of 75. Signature: Signed by the artist verso. Condition: The photograph seems to be in fine condition. It is framed in a clear lucite mounting frame which has masking tape residue to each of the four sides. All three artworks that we have also have the same masking tape remnant. We assume these will be mounted in better frames. Photograph – 8 1/2″ x 11″. Image Size – 3 7/8″ x 4 7/8″. Lucite case – 12 3/8″ x 14 3/4″. Robert Graham was born in Mexico City in 1938 and moved to California in 1948. After studying art at San Jose State University and the San Francisco Art Institute, he spent time in London before settling into his studio in Venice, California, in 1972. With an expansive artistic practice ranging from intimately scaled sculpture to towering public monuments and distinctive architectural design, it was Graham’s ability to crystallize his observations of the human form into iconic and emotive representations of the figure that drove his accomplishments. Over the course of his career, Graham achieved acclaim in museum and gallery exhibitions as well as in the public realm. One of the most significant public artists in the country during his lifetime, Graham was commissioned to create sculptural monuments across the United States. His first major civic commission came from the Olympic Arts Festival organization in Los Angeles in 1984. Other commissions include: the Monument to Joe Louis in Detroit (1986); the FDR Memorial in Washington, D. (1997); the Duke Ellington Memorial in New York City (1997); the Charlie “Bird” Parker memorial in Kansas City (1999); and the Great Bronze Doors of the Cathedral of Our Lady of the Angels in Los Angeles (2002). Robert Graham also designed the National Medal of Arts in 1985. Awarded annually by the President of the United States to artists and arts patrons, it is the highest form of recognition for outstanding contribution to the arts in the country. Robert Graham’s work is in the collections of major institutions including Los Angeles County Museum of Art; Dallas Museum of Fine Art; Hirshhorn Museum and Sculpture Garden, Washington, D. Museum of Fine Arts Houston; San Francisco Museum of Modern Art; the Whitney Museum of American Art, New York; and the Museum of Modern Art, New York.

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Mission San Juan Capistrano Ivy Corridor Silver Gelatin Hand Tinted Edith Webb 1910s. Very warm colors that were hand tinted over a hundred years ago. Condition: Hand tinted photo silver, Print: area size 9 3/8 X 7 3/8 inches. Frame solid oak dark brown size: 17 1/2 x 14 1/2 inches. Photo is top mounted on a very decorative rough edge card board which is in turn mounted on top of the green back ground card board with waving texture. If Edith Webb’s name is now known outside of a small group of family and friends it is as author of Indian Life at the Old Missions, perhaps the finest book ever written about the California Missions. That book was the culmination of many decades of research on the missions. Her initial curiosity about the missions came about because her grandmother had resided in one of the rooms of Mission Dolores in San Francisco in the period just before the Gold Rush. Born in Utah, Edith Buckland Webb moved to California around the turn of the century. Her husband, whom she met here, was a teacher and a photographer. This latter talent of his was to be of great use during her research in the succeeding years; his first photograph of a mission shows her in a carriage with their first-born Alfred at age three months in front of Mission Dolores. In succeeding years she was occupied with raising a family, but she also applied her considerable artistic talents to the tinting of his photographs for sale. His photographs were exhibited in many salons, and he supplied photographic postcards and enlargements to several of the missions, especially San Diego, San Juan Capistrano, and San Fernando. By about 1923 she abandoned the simple tinting of photographs and began to devote herself seriously to painting, especially, though not exclusively, of the missions. These paintings were usually closely based on his photographs.

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Mission San Juan Capistrano Ivy Corridor Silver Gelatin Hand Tinted Edith Webb 1910s. Very warm colors that were hand tinted over a hundred years ago. Condition: Hand tinted photo silver, Print: area size 9 3/8 X 7 3/8 inches. Frame solid oak dark brown size: 17 1/2 x 14 1/2 inches. Photo is top mounted on a very decorative rough edge card board which is in turn mounted on top of the green back ground card board with waving texture. If Edith Webb’s name is now known outside of a small group of family and friends it is as author of Indian Life at the Old Missions, perhaps the finest book ever written about the California Missions. That book was the culmination of many decades of research on the missions. Her initial curiosity about the missions came about because her grandmother had resided in one of the rooms of Mission Dolores in San Francisco in the period just before the Gold Rush. Born in Utah, Edith Buckland Webb moved to California around the turn of the century. Her husband, whom she met here, was a teacher and a photographer. This latter talent of his was to be of great use during her research in the succeeding years; his first photograph of a mission shows her in a carriage with their first-born Alfred at age three months in front of Mission Dolores. In succeeding years she was occupied with raising a family, but she also applied her considerable artistic talents to the tinting of his photographs for sale. His photographs were exhibited in many salons, and he supplied photographic postcards and enlargements to several of the missions, especially San Diego, San Juan Capistrano, and San Fernando. By about 1923 she abandoned the simple tinting of photographs and began to devote herself seriously to painting, especially, though not exclusively, of the missions. These paintings were usually closely based on his photographs.

]]> https://sanfranciscosanfrancisco.com/2025/06/antique-mission-san-juan-capistrano-silver-gelatin-hand-tinted-edith-webb-1910s-2/feed/ 0 https://sanfranciscosanfrancisco.com/2025/05/leonard-sussman-signed-new-york-city-subways-1977-skylight-gelatin-silver-print/ https://sanfranciscosanfrancisco.com/2025/05/leonard-sussman-signed-new-york-city-subways-1977-skylight-gelatin-silver-print/#comments Wed, 21 May 2025 17:33:51 +0000 https://sanfranciscosanfrancisco.com/2025/05/leonard-sussman-signed-new-york-city-subways-1977-skylight-gelatin-silver-print/









Leonard Sussman San Francisco, California, New York City, b. Skylight and Stairwell: Beverley Road, BMT, 1977. Unframed: Matting (Photograph) = 20″ x 15″, Image = 7 1/2″ x 6 3/4″. The print comes from the Subways portfolio published in 1977. The portfolio featured ten photographs and five etchings of New York City. Only 30 numbered and 5 artist-proof portfolios were produced. This piece comes from one of the artist’s proof portfolios. The photograph is pencil signed recto below the print. The photograph is in near-fine condition. The mounting board for the photograph has scattered foxing throughout, see photos. The foxing does not impact the black-and-white image. The overlaying mat board covers the foxing. Let me know if you have any questions or if you would like to see additional photos. Please check out my other signed, limited edition art and books that are for sale.

]]> https://sanfranciscosanfrancisco.com/2025/05/leonard-sussman-signed-new-york-city-subways-1977-skylight-gelatin-silver-print/feed/ 0 https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964-3/ https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964-3/#comments Sat, 19 Apr 2025 02:10:42 +0000 https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964-3/







Photograph from a Ghost Town. Silver Gelatin photograph measuring 5 x 7 in laid on 11 x 14 in cardstock with signature in pencil to lower right. Label on reverse with Gagliani’s San Francisco address. From the bio on Gitterman Gallery’s website. He explored the expressive potential of abstraction and his prints reveal poetic evidence of the spirit. Oliver Gagliani was born to an Italian America family in Placerville, California in 1917 and lived most of his life in San Francisco. His passion for music began in elementary school and he played the violin through college. In 1946, while intending to go to the San Francisco Symphony at the War Memorial Opera House, he mistakenly walked next door into the San Francisco Museum of Art (at the time housed in the War Memorial Veterans Building). There he saw the traveling retrospective of Paul Strand organized by the Museum of Modern Art in 1945. Gagliani recalled that: It was beautiful, his counterpoint of light and shade, object and space, just as in the music I had studied for so long. It was this exhibition of Strand’s work and the 1946 retrospective of Edward Weston’s work at the museum which compelled Gagliani to explore photography as a means of self expression. That same year he took an intensive course with Ansel Adams and later in 1964 he took a workshop with Minor White. During many family vacations Gagliani traveled to California State Parks and ghost towns in Nevada to photograph. His first two solo exhibitions were at the George Eastman House in 1955 and at the San Francisco Museum of Art in 1957 and he went on to exhibit extensively throughout his career. At the encouragement of Jack Welpott and Leland Rice, Gagliani went back to school and received an MFA from the California College of Arts and Crafts in 1972, which enabled him to teach photography at universities and colleges. For decades he also taught many photography workshops. Books on Gagliani include: Oliver Gagliani (Ideograph, 1975); Oliver Gagliani: Past and Present: Photographs (Museo ItaloAmericano, 1987); and Oliver Gagliani: Scores of Abstraction (Center for Photographic Art, 2006).

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Photograph from a Ghost Town. Silver Gelatin photograph measuring 5 x 7 in laid on 11 x 14 in cardstock with signature in pencil to lower right. Label on reverse with Gagliani’s San Francisco address. From the bio on Gitterman Gallery’s website. He explored the expressive potential of abstraction and his prints reveal poetic evidence of the spirit. Oliver Gagliani was born to an Italian America family in Placerville, California in 1917 and lived most of his life in San Francisco. His passion for music began in elementary school and he played the violin through college. In 1946, while intending to go to the San Francisco Symphony at the War Memorial Opera House, he mistakenly walked next door into the San Francisco Museum of Art (at the time housed in the War Memorial Veterans Building). There he saw the traveling retrospective of Paul Strand organized by the Museum of Modern Art in 1945. Gagliani recalled that: It was beautiful, his counterpoint of light and shade, object and space, just as in the music I had studied for so long. It was this exhibition of Strand’s work and the 1946 retrospective of Edward Weston’s work at the museum which compelled Gagliani to explore photography as a means of self expression. That same year he took an intensive course with Ansel Adams and later in 1964 he took a workshop with Minor White. During many family vacations Gagliani traveled to California State Parks and ghost towns in Nevada to photograph. His first two solo exhibitions were at the George Eastman House in 1955 and at the San Francisco Museum of Art in 1957 and he went on to exhibit extensively throughout his career. At the encouragement of Jack Welpott and Leland Rice, Gagliani went back to school and received an MFA from the California College of Arts and Crafts in 1972, which enabled him to teach photography at universities and colleges. For decades he also taught many photography workshops. Books on Gagliani include: Oliver Gagliani (Ideograph, 1975); Oliver Gagliani: Past and Present: Photographs (Museo ItaloAmericano, 1987); and Oliver Gagliani: Scores of Abstraction (Center for Photographic Art, 2006).

]]> https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964-2/feed/ 0 https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964/ https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964/#comments Thu, 03 Apr 2025 13:24:39 +0000 https://sanfranciscosanfrancisco.com/2025/04/oliver-gagliani-1917-2002-signed-silver-gelatin-photograph-ghost-town-c-1964/









Photograph from a Ghost Town. Silver Gelatin photograph measuring 5 x 7 in laid on 11 x 14 in cardstock with signature in pencil to lower right. Label on reverse with Gagliani’s San Francisco address. This photograph was featured in the flyer for Gagliani’s 1964 exhibition at the Underground Gallery in New York City. From the bio on Gitterman Gallery’s website. He explored the expressive potential of abstraction and his prints reveal poetic evidence of the spirit. Oliver Gagliani was born to an Italian America family in Placerville, California in 1917 and lived most of his life in San Francisco. His passion for music began in elementary school and he played the violin through college. In 1946, while intending to go to the San Francisco Symphony at the War Memorial Opera House, he mistakenly walked next door into the San Francisco Museum of Art (at the time housed in the War Memorial Veterans Building). There he saw the traveling retrospective of Paul Strand organized by the Museum of Modern Art in 1945. Gagliani recalled that: It was beautiful, his counterpoint of light and shade, object and space, just as in the music I had studied for so long. It was this exhibition of Strand’s work and the 1946 retrospective of Edward Weston’s work at the museum which compelled Gagliani to explore photography as a means of self expression. That same year he took an intensive course with Ansel Adams and later in 1964 he took a workshop with Minor White. During many family vacations Gagliani traveled to California State Parks and ghost towns in Nevada to photograph. His first two solo exhibitions were at the George Eastman House in 1955 and at the San Francisco Museum of Art in 1957 and he went on to exhibit extensively throughout his career. At the encouragement of Jack Welpott and Leland Rice, Gagliani went back to school and received an MFA from the California College of Arts and Crafts in 1972, which enabled him to teach photography at universities and colleges. For decades he also taught many photography workshops. Books on Gagliani include: Oliver Gagliani (Ideograph, 1975); Oliver Gagliani: Past and Present: Photographs (Museo ItaloAmericano, 1987); and Oliver Gagliani: Scores of Abstraction (Center for Photographic Art, 2006).

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Mission San Juan Capistrano Ivy Corridor Silver Gelatin Hand Tinted Edith Webb 1910s. Very warm colors that were hand tinted over a hundred years ago. Condition: Hand tinted photo silver, Print: area size 9 3/8 X 7 3/8 inches. Frame solid oak dark brown size: 17 1/2 x 14 1/2 inches. Photo is top mounted on a very decorative rough edge card board which is in turn mounted on top of the green back ground card board with waving texture. If Edith Webb’s name is now known outside of a small group of family and friends it is as author of Indian Life at the Old Missions, perhaps the finest book ever written about the California Missions. That book was the culmination of many decades of research on the missions. Her initial curiosity about the missions came about because her grandmother had resided in one of the rooms of Mission Dolores in San Francisco in the period just before the Gold Rush. Born in Utah, Edith Buckland Webb moved to California around the turn of the century. Her husband, whom she met here, was a teacher and a photographer. This latter talent of his was to be of great use during her research in the succeeding years; his first photograph of a mission shows her in a carriage with their first-born Alfred at age three months in front of Mission Dolores. In succeeding years she was occupied with raising a family, but she also applied her considerable artistic talents to the tinting of his photographs for sale. His photographs were exhibited in many salons, and he supplied photographic postcards and enlargements to several of the missions, especially San Diego, San Juan Capistrano, and San Fernando. By about 1923 she abandoned the simple tinting of photographs and began to devote herself seriously to painting, especially, though not exclusively, of the missions. These paintings were usually closely based on his photographs.

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Mission San Juan Capistrano Ivy Corridor Silver Gelatin Hand Tinted Edith Webb 1910s. Condition: Hand tinted photo silver, Print: area size 9 3/8 X 7 3/8 inches. Frame size: 17 1/2 x 14 1/2 inches. If Edith Webb’s name is now known outside of a small group of family and friends it is as author of Indian Life at the Old Missions, perhaps the finest book ever written about the California Missions. That book was the culmination of many decades of research on the missions. Her initial curiosity about the missions came about because her grandmother had resided in one of the rooms of Mission Dolores in San Francisco in the period just before the Gold Rush. Born in Utah, Edith Buckland Webb moved to California around the turn of the century. Her husband, whom she met here, was a teacher and a photographer. This latter talent of his was to be of great use during her research in the succeeding years; his first photograph of a mission shows her in a carriage with their first-born Alfred at age three months in front of Mission Dolores. In succeeding years she was occupied with raising a family, but she also applied her considerable artistic talents to the tinting of his photographs for sale. His photographs were exhibited in many salons, and he supplied photographic postcards and enlargements to several of the missions, especially San Diego, San Juan Capistrano, and San Fernando. By about 1923 she abandoned the simple tinting of photographs and began to devote herself seriously to painting, especially, though not exclusively, of the missions. These paintings were usually closely based on his photographs.

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