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So you only pay what it actually costs from my ZIP. On the listing to view. Other carriers and services. Artwork Title & Overview. Artist/Publisher: Henry Bill, New York. Publisher Note (visible): Published for the History of the World by Henry Bill, New York. Medium: Lithograph possibly original three-color stone lithograph according to the label from Lyons Ltd. Subject: A panoramic view of San Francisco from the mid-19th century, labeled with notable landmarks such as. ???? About Henry Bill. Henry Bill was a 19th-century American publisher known for his historical prints and books, particularly those that accompanied atlases or large-format “views” of cities. This print of San Francisco is characteristic of his work in documenting American urban development during the Gold Rush and expansion periods. Print Authenticity & Label Info. Label on the back Lyons Ltd. Antique Prints suggests this may be an original three-color stone lithograph circa 1856. Sorry I noticed that I didn’t get a full photo of the back and it is already packaged up – It has a wire and ready to hang =. Frame It Shops & Gallery (Citrus Heights/Carmichael) suggests it was professionally framed, possibly in the 1980s-1990s. The artwork appears to be in moderate condition with some age-toning and light warping, common in authentic mid-19th-century paper.

]]> https://sanfranciscosanfrancisco.com/2025/12/antique-1856-san-francisco-lithograph-henry-bill-framed-panorama-print/feed/ 0 https://sanfranciscosanfrancisco.com/2025/11/1906-san-francisco-earthquake-panorama-financial-district/ https://sanfranciscosanfrancisco.com/2025/11/1906-san-francisco-earthquake-panorama-financial-district/#comments Sun, 09 Nov 2025 00:46:37 +0000 https://sanfranciscosanfrancisco.com/2025/11/1906-san-francisco-earthquake-panorama-financial-district/


An urban panorama unlike any other: documentation of the devastation caused by the 1906 earthquake and fire. This incredible panorama provides a horrifying view across downtown San Francisco and the Bay, with Union Square and Stockton Street at the built up center of the photograph. Being a composite panoramic image, the view stretches from Telegraph Hill and in the left of the image, to Bernal Heights in the right. An annotation at the bottom of the image reveals that it was taken from the roof of the St. Francis Hotel on Nob Hill. The massive devastation that the city suffered is clear from the image. With a few skeletal exceptions, most of the horizon simply consists of rubble; a landscape of flattened structures of which there is next to nothing left. The more monumental and sturdy buildings visible in the front of the image are mostly ghostlike shells, reminiscent of the bombed out German cities at the end of the Second World War. Consequently, discerning some of the features described here can be difficult. The combination of the earthquake and the subsequent fires meant that 80% of the city was completely destroyed. When one looks at these images, there is little doubt this is true. Even the buildings that remained standing, had in most cases suffered such serious damages that the only option was to demolish and build anew. There are nevertheless subtle glimmers of hope in the field of ruins: features that would become urban emblems linking San Franciscans with their past. At the front and center of the image we have the built up area surrounding Union Square. Many of the visible buildings were in fact under construction when the earthquake hit. Standing tallest is the Call Building, built in the late 1890s by John D. Spreckels as his father Claus Spreckels to house their newly acquired paper. The San Francisco Call. Conceived and built by architects Reid & Reid, the tower stood 315 feet tall and was crowned by an ornate baroque dome flanked on each corner by a smaller dome. Upon its completion, it was the tallest building west of the Mississippi and an icon of Californian modernity. The building was badly damaged during the earthquake and subsequent fires, but as is evident from the photo, it remained standing and intact. The building still exists today as the Central Tower (703 Market Street), although an extensive refurbishment in 1938 reduced its height and removed the magnificent domes. In roughly the center of the panorama, in the lower ruin fields just right of the Call Building, we see the darkened remains of the massive brick tower of the Cable Car Powerhouse on Pacific Avenue, which succumbed almost completely to the tremors. From here, there is a view down Market Street, Van Ness Avenue, and all the leveled neighborhoods in between them. After the earthquake, the axes of both Market Street and Van Ness became key thoroughfares in the urban infrastructure: a means of getting supplies in and out of downtown. Soon Market Street also became famous for one of its monuments, Lotta’s Fountain; a twenty-four foot cast-iron fountain, which in the aftermath of the earthquake served as a meeting point for people who had been separated from each other in the chaos. To this day, San Franciscans gather at Lotta’s Fountain in the early hours every April 18. To mark the tragedy. Even though the Call or Spreckels Building undoubtedly was a San Francisco landmark at the time, the best-known pre-earthquake building still standing today is perhaps the Ferry Building, on Embarcadero and Market Street. Because of the photographer’s vantage point and the haze of smoke still hanging in the air, the building is barely visible down by the waterfront, but it too served as an important gathering point in the aftermath of the earthquake, as well as a means for civilian fire brigades to identify new fires throughout the northern part of the city. The most imposing and important civic monument to survive the earthquake was the Old Mint, a massive sandstone structure set on a solid base of concrete, which protected it from the tremors. The enclosed courtyard in its center contained its own well, which helped prevent the ubiquitous fires from taking hold in the building. Its salvation was of crucial import, both as a symbol, but also because about one third of the United States gold bullion was kept here. It is only barely visible in the photograph as a large dark-grey mass along the southern flank of Market Street, but stands out clearly on the smaller image. Despite the ominous and tragic background for this panoramic image, one senses that life gradually is returning to normalcy: a testament to just how resilient the inhabitants of San Francisco were. In the far left of the image, with the Telegraph Hill in the background, we see a large sandstone church that has been left largely intact. The iconic remains of Temple Emanu-El, Grace Cathedral behind it, and St. Mary’s to the right are all visible. Nearby stand the sorrowful ruins of the Palace Hotel, San Francisco’s most celebrated hotel and a landmark in and of itself. Essentially, this is an image of a city destroyed. It conveys with uncompromising clarity the magnitude of destruction and suffering following the 1906 earthquake. Consequently, it might be helpful to provide a little background on the earthquake meant and what it meant for the history of San Francisco. The San Francisco earthquake struck in the early morning hours of April 18. It preceded the Richter scale by which we measure earthquakes today by three decades, but calculations have since shown that its force would have been equivalent to about 7.9 on the Richter scale and a Mercali Intensity of XI (extreme). Soon after the tremors had abated, more than thirty fires broke out across the city and raged for four days. Most of these were caused by the raptured gas mains, but in some cases they were inadvertently started by local firefighters. The fires burned intensely hot and since most residential buildings were built of timber and brick, entire neighborhoods burned completely to the ground. It has been estimated that 90% of the total destruction caused by the earthquake resulted from the fires. When it was all over, more than 80% of the city had been destroyed and more than 3000 people had lost their lives. The quake was felt as far away as Nevada, Oregon, and Los Angeles. Modern seismologists still debate the exact epicenter, but most agree that it was just off the coast, northwest of the Golden Gate. The extent of the damage meant that two thirds of the population became refugees overnight, and tents and shacks soon began to shoot up in the Presidio, Golden Gate Park, and North Beach. Eventually, many of the refugees moved across the Bay to Oakland and Berkeley. Important San Francisco landmarks were lost, including the famed Palace Hotel and old City Hall. In addition to the immediate and short-term impact on the city, the earthquake also had long-term consequences. In 1906, San Francisco was not only the largest and most populous city on the West Coast, but it was also the most important port and bridgehead for American mercantile interests in the Pacific and Asia. Much of this dynamism was lost due to the earthquake. The sheer destruction of basic infrastructure and the chaotic conditions to supply a work force made maritime engagements difficult. In effect, and despite an impressively efficient rebuilding process, San Francisco lost its position as California’s major urban center to Los Angeles, and would not regain it again. This shift has come to characterize San Francisco and most of its contemporary inhabitants would have it no other way. Yet it is a powerful reminder of how easily trajectories change. The process of rebuilding the city was a long and arduous one. While civic leadership began planning the process immediately, finding the necessary funding proved extremely difficult. There was only a single bank in San Francisco that was willing and able to provide the scope of funds needed for the extensive re-building plans. Had been founded by Amadeo Giannini, an Italian immigrant who had settled in North Beach. He became a great patron of the reborn San Francisco, providing the city itself with much-needed loans and paying for building materials from his own pocket. Years later, the bank would be renamed Bank of America, which it still is known as today. Due to the nature of the devastation and the difficulties in acquiring both funds and materials for the rebuilding, the process took time. But by 1915 the city had recovered to such a degree that it hosted the Panama Pacific International Exposition; a world fair that celebrated the opening of the Panama Canal that summer. This event showcased the city as a hub of modernity where one could experience the concrete results of technological advancement incl. The exposition proved beyond any doubt that San Francisco had regained its former glory and perhaps now even outshone its former self. For the occasion of the exposition, a glamorous and monumental neighborhood of representative pavilions was constructed along the northern waterfront. Not much remains today, so to get a glimpse of just how impressive the new San Francisco would have been, we are relegated to the Palace of Fine Arts, the most important and imposing of the exposition buildings still standing. The Pillsbury Picture Company. Was founded in the spring of 1906, just a month before the earthquake hit. Its serendipitous timing propelled the company to fame and made the Pillsbury stock relevant across America and the world. It was founded by Arthur C. Pillsbury, a disgruntled photojournalist, after he quit his job with the San Francisco Examiner. Pillsbury was renowned for his innovative approach to photography and visual communication. Part of Pillsbury’s success in the wake of the catastrophe was that the company was based in his Oakland home. Here he had set up equipment and darkrooms and could run the entire operation. Because his company, unlike most official press outlets, was not based in San Francisco proper, Pillsbury was quickly able to corner the market. His innovative approach to photography no doubt helped him cement that position. Pillsbury became famous through his images, but locally he had also won recognition as an uncompromising and innovative photographer. He had made his way into the city admits the ongoing aftershocks and was consequently able to circulate some of the earliest images of the calamity. Over time, the Pillsbury Picture Company became the largest distributor of post cards on the west coast and later went into film production as well (including the first time-lapse and underwater films). Pillsbury also went on to develop his own cameras, often refusing to patent innovations, because he wanted his inventions to benefit all photographers. In general, Arthur C. Pillsbury was one of the most innovative and productive geniuses in America when it comes to photography and film. His legacy is one of accomplishment, and since it all began with the 1906 earthquake, he has come to represent the resilience and greatness of San Francisco and her people.

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4 of the 5 panels of T. Photo is dated 1851 which was an error by T. This is an extremely rare set of photos. There are five panels total. This was in a local Bay Area estate with a box of photos from that era. Everything on these images appears to date them correctly as original T. Each panel measures 5.25″ x 7.5″ for total size of 5.25″ x 30″ – the missing panel is the one on the far end – all four photos align. Thanks so much for stopping by! Let us know if you have any questions or need any additional images. Please take a look at our other antique and vintage treasures.

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A Pillsbury Picture Company panorama highlighting the 1906 destruction of San Francisco’s City Hall. This deeply melancholic panorama photograph encapsulates the physical destruction of San Francisco in the 1906 earthquake. We see an extensive ruin field interspersed with the skeletal remains from standing facades. Many recognizable San Francisco landmarks are depicted, including the prominent ruins of City Hall. Old City Hall was located at 8th and Market Street, the present-day site of the main branch of the San Francisco Public Library. The post-Earthquake image of the empty shell of this building quickly became world famous, both because it represented the destruction of a great city and the inability of authorities to mitigate this disaster, but also because of the picturesque way in which the building had collapsed; it’s splendid dome still balancing in place on its steel scaffolding, creating a dramatic scene that embodied what the city had gone through and lost. The central tower is surrounded by utter destruction and collapse. The only part of the original complex that survived more or less intact was the lower domed rotunda east of the main hall, known as the Hall of Records. This building was largely unscathed by the earthquake itself, but was badly damaged by the subsequent fires. When plans were made to rebuild City Hall in a slightly different spot (two blocks down), the Hall of Records was demolished along with the rest of the complex. City Hall was of course rebuilt. The building in use today was completed in time for the 1915 opening of the Panama Pacific International Exposition and was modeled on the United States Capitol. On the site of the original town hall stands the San Francisco Public Library. With the ruins of City Hall so prominent in the image, it is easier to identify exactly what the rest of the scene constitutes. Being a panoramic image, orientation is of course somewhat distorted. Nevertheless, it is clear from the image (and confirmed by an annotation at the bottom of the image) that the vantage point for this photograph was from the roof of a building on Market Street itself, probably near 7. Street and quite possibly from the Grant Building, as this was a favored location for photographers trying to capture the cataclysmic atmosphere of post-earthquake San Francisco. The bustle and commotion of Market Street is clear along its eastern extension in the right side of the panorama. Looking east along this axis, one sees the Call Tower’s iconic dome in the distance, indicating Union Square. Immediately to the right of this, along a street that runs perpendicular to Market Street, we find a clear depiction of the Old Mint and its double chimneys in the courtyard. Essentially, this is an image of a city destroyed. It conveys with uncompromising clarity the magnitude of destruction and suffering following the 1906 earthquake. Consequently, it might be helpful to provide a little background on the earthquake meant and what it meant for the history of San Francisco. The San Francisco earthquake struck in the early morning hours of April 18. It preceded the Richter scale by which we measure earthquakes today by three decades, but calculations have since shown that its force would have been equivalent to about 7.9 on the Richter scale and a Mercali Intensity of XI (extreme). Soon after the tremors had abated, more than thirty fires broke out across the city and raged for four days. Most of these were caused by the raptured gas mains, but in some cases they were inadvertently started by local firefighters. The fires burned intensely hot and since most residential buildings were built of timber and brick, entire neighborhoods burned completely to the ground. It has been estimated that 90% of the total destruction caused by the earthquake resulted from the fires. When it was all over, more than 80% of the city had been destroyed and more than 3000 people had lost their lives. The quake was felt as far away as Nevada, Oregon, and Los Angeles. Modern seismologists still debate the exact epicenter, but most agree that it was just off the coast, northwest of the Golden Gate. The extent of the damage meant that two thirds of the population became refugees overnight, and tents and shacks soon began to shoot up in the Presidio, Golden Gate Park, and North Beach. Eventually, many of the refugees moved across the Bay to Oakland and Berkeley. Important San Francisco landmarks were lost, including the famed Palace Hotel and old City Hall. In addition to the immediate and short-term impact on the city, the earthquake also had long-term consequences. In 1906, San Francisco was not only the largest and most populous city on the West Coast, but it was also the most important port and bridgehead for American mercantile interests in the Pacific and Asia. Much of this dynamism was lost due to the earthquake. The sheer destruction of basic infrastructure and the chaotic conditions to supply a work force made maritime engagements difficult. In effect, and despite an impressively efficient rebuilding process, San Francisco lost its position as California’s major urban center to Los Angeles, and would not regain it again. This shift has come to characterize San Francisco and most of its contemporary inhabitants would have it no other way. Yet it is a powerful reminder of how easily trajectories change. The process of rebuilding the city was a long and arduous one. While civic leadership began planning the process immediately, finding the necessary funding proved extremely difficult. There was only a single bank in San Francisco that was willing and able to provide the scope of funds needed for the extensive re-building plans. Had been founded by Amadeo Giannini, an Italian immigrant who had settled in North Beach. He became a great patron of the reborn San Francisco, providing the city itself with much-needed loans and paying for building materials from his own pocket. Years later, the bank would be renamed Bank of America, which it still is known as today. Due to the nature of the devastation and the difficulties in acquiring both funds and materials for the rebuilding, the process took time. But by 1915 the city had recovered to such a degree that it hosted the Panama Pacific International Exposition; a world fair that celebrated the opening of the Panama Canal that summer. This event showcased the city as a hub of modernity where one could experience the concrete results of technological advancement incl. The exposition proved beyond any doubt that San Francisco had regained its former glory and perhaps now even outshone its former self. For the occasion of the exposition, a glamorous and monumental neighborhood of representative pavilions was constructed along the northern waterfront. Not much remains today, so to get a glimpse of just how impressive the new San Francisco would have been, we are relegated to the Palace of Fine Arts, the most important and imposing of the exposition buildings still standing. The Pillsbury Picture Company. Was founded in the spring of 1906, just a month before the earthquake hit. Its serendipitous timing propelled the company to fame and made the Pillsbury stock relevant across America and the world. It was founded by Arthur C. Pillsbury, a disgruntled photojournalist, after he quit his job with the San Francisco Examiner. Pillsbury was renowned for his innovative approach to photography and visual communication. Part of Pillsbury’s success in the wake of the catastrophe was that the company was based in his Oakland home. Here he had set up equipment and darkrooms and could run the entire operation. Because his company, unlike most official press outlets, was not based in San Francisco proper, Pillsbury was quickly able to corner the market. His innovative approach to photography no doubt helped him cement that position. Pillsbury became famous through his images, but locally he had also won recognition as an uncompromising and innovative photographer. He had made his way into the city admits the ongoing aftershocks and was consequently able to circulate some of the earliest images of the calamity. Over time, the Pillsbury Picture Company became the largest distributor of post cards on the west coast and later went into film production as well (including the first time-lapse and underwater films). Pillsbury also went on to develop his own cameras, often refusing to patent innovations, because he wanted his inventions to benefit all photographers. In general, Arthur C. Pillsbury was one of the most innovative and productive geniuses in America when it comes to photography and film. His legacy is one of accomplishment, and since it all began with the 1906 earthquake, he has come to represent the resilience and greatness of San Francisco and her people.

]]> https://sanfranciscosanfrancisco.com/2025/02/1906-san-francisco-earthquake-panorama-city-hall/feed/ 0 https://sanfranciscosanfrancisco.com/2023/03/1887-souvenir-san-francisco-california-panorama-chinese-town-masonic-baldwin-rrr/ https://sanfranciscosanfrancisco.com/2023/03/1887-souvenir-san-francisco-california-panorama-chinese-town-masonic-baldwin-rrr/#comments Thu, 16 Mar 2023 15:37:01 +0000 https://sanfranciscosanfrancisco.com/2023/03/1887-souvenir-san-francisco-california-panorama-chinese-town-masonic-baldwin-rrr/






















1887 Souvenir San Francisco California Panorama Chinese Town Masonic Baldwin RRR. Heininger Panoramic wiew of San Francisco 1887. The Chinese Quarters etc… Some damage and dirt.. Please see pictures carefully and feel free to contact me. This item is in the category “Books & Magazines\Antiquarian & Collectible”. The seller is “japonisme.art” and is located in this country: JP. This item can be shipped worldwide.

• Language: English
• Topic: American (US)

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Bardell Panorama of San Francisco and Oakland showing the Golden Gate International Exposition, Golden Gate Bridge, and the San Francisco – Oakland Bay Bridge. Author: CALIFORNIA – SAN FRANCISCO – OAKLAND – PANORAMA Title: Bardell Panorama of San Francisco and Oakland showing the Golden Gate International Exposition, Golden Gate Bridge, and the San Francisco – Oakland Bay Bridge Publication: San Francisco. Description: Standish, Frank illus. Color panoramic reproduction of a painting (20 1/2 x 6 1/8 inches) by artist Frank Bardell at the left end tipped on to a thin card sheet and rolled with tie at the right end of the card sheet approx. 20 1/2 x 6 1/8 inches to secure the mailer. This copy was fortunately never mailed. Light wear and creasing to the card sheet, panorama in very good condition. The date of 1936 is at lower right of the image; the item was issued in anticipation of the Golden Gate International Exposition. On the inside of the protective card sheet is a diagrammatic view of the panorama with sites marked and key below. Subject: Maps, Prints, United States. Our stock ranges in date from the 1600s to the 1950s – great design is not limited by date! We have been in business since 1981, and have thrived on or survived! The many changes in the book and antique world. Our business is web based in Portland, Oregon, USA; we also exhibit at several shows a year. Owner Elisabeth Burdon is a member of the Antiquarian Booksellers Association of America, an affiliate of the International League of Antiquarian Booksellers and a member of the Ephemera Society of America and the American Historical Print Collectors Society. For sales within the U. Will calculate and add the applicable. This listing was created by Bibliopolis. The item “CALIFORNIA SAN FRANCISCO / Bardell Panorama of San Francisco and Oakland 1939″ is in sale since Wednesday, June 24, 2020. This item is in the category “Antiques\Maps, Atlases & Globes\North America Maps”. The seller is “oldimprints” and is located in Portland, Oregon. This item can be shipped worldwide.

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A VISUAL ESCAPE WITH THIS LIMITED EDITION MIXED MEDIA PRINT BY ALEXENDER CHEN! This beautifully depiction of the Skyline of San Francisco is filled with superb light and depth! “San Francisco Panorama” is a limited edition mixed media print on paper that is numbered and hand signed by Chen! Includes Certificate of Authenticity Measures Approx: 36 X 11 (image) from an edition of 695 prints. Chinese-born Artist ALEXANDER CHEN has channeled his truly incredible gift of expression into some of the most startlingly magnificent City-and-Landscapes of the 20th Century! From the Grand Canyon, to the Eiffel Tower, to a quiet neighborhood in San Francisco, CHEN has somehow transformed already Spectacular Sights into Hyper-Realistic Celebrations of Life, Light and Color that pop and crackle with Electrical Magic. Thanks for looking and Good Luck! The item “Alexander Chen SAN FRANCISCO PANORAMA California Ltd Ed” is in sale since Monday, June 21, 2010. This item is in the category “Art\Art Prints”. The seller is “1963armyvet” and is located in Frisco, Texas. This item can be shipped worldwide.

• Original/Reproduction: Original Print
• Listed By: Dealer or Reseller
• Edition Type: Limited Edition
• Print Type: Mixed Media
• Subject: Landscape
• Style: Realism
• Size Type/Largest Dimension: Large (Greater than 30”)
• Signed?: Signed

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