https://sanfranciscosanfrancisco.com Wed, 17 Jun 2026 07:48:56 +0000 en-US hourly 1 https://wordpress.org/?v=4.1.1 https://sanfranciscosanfrancisco.com/2026/05/c-1950-large-color-photograph-of-san-francisco-oakland-bay-bridge-california/ https://sanfranciscosanfrancisco.com/2026/05/c-1950-large-color-photograph-of-san-francisco-oakland-bay-bridge-california/#comments Thu, 21 May 2026 18:48:38 +0000 https://sanfranciscosanfrancisco.com/2026/05/c-1950-large-color-photograph-of-san-francisco-oakland-bay-bridge-california/


73 x 55 cm (29 x 21.5 in). Oakland-Bay-Brücke in San Francisco. The photograph is oriented towards the west, taken from Yerba Buena Island and looking out over the western portion of the bridge, with downtown San Francisco in the background. This work is undated, but from context – most importantly the two-way traffic on the upper level of the bridge – can be assumed to be from the early-mid 1950s. Initially, both interurban electric trains (of the Western Pacific and Southern Pacific) and streetcars (of the Key System) utilized the lower level, along with buses and trucks. By 1958, both rail and streetcar service had ended, but the lower deck continued to be used exclusively for trucks and buses until 1963. Unlike the eastern portion of the bridge, which was damaged in the 1989 Loma Prieta Earthquake and later rebuilt in a different style, this western portion of the bridge appears the same today as in this photograph. The entities involved in the production of this work all appear to have been short-lived. There is no evidence of Foto Moulin Studio having published any other works. Westermann Wandbilder produced a handful of similar vibrantly-colored large format photographic prints around this time, and appears to have been a branch of the well-established atlas and educational publisher Westermann Verlag in Braunschweig. Geographische Typenlandschaften looks to have worked exclusively with Westermann Wandbilder and may have been another branch of the Westermann group of companies.

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San Francisco Fire Original Large Antique Sepia Photograph. Kearny & Montgomery Strs in flames. View made off California St. This original sepia photo has a high gloss surface on quality photographic paper. It is a good view of the start of the fire, with people in the street. There is also a gentleman standing on the left corner of the roof in the foreground watching the disaster unfold. The sky is entirely filled with smoke. This photo is in good condition, the surface showing a couple of small indents, one horizontal and one vertical indent about 1/2 inch long in the upper right sky. There is a pencil or pen mark about the same size above and to the left of them. The card has a split right of center at lower edge (see photos), and the corners show some. Reverse has yellowed edges of card, and lightly written in pencil on right edge. Kearny & Montgomery Sts in flames. The card measures 11 7/8 inches wide by 10 inches. The photo measures 8 9/16 wide x 6 5/8 inches. All conditions given are an educated review of Beckett/PSA standards, as we are not professional graders. Item is pre-owned condition with normal standard wear from age and usage, not new nor perfect, but definitely Nostalgic. We are a clean and smoke free environment. Track Page Views With. Auctiva’s FREE Counter.

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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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Antique CABINET CARD Photograph. Location: San Francisco, California. 6.5″ x 4.25″. Cabinet card is in good antique condition with some light wear.

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TODD HIDO Photographic Giclee Print. “#2215 from the series House Hunting, 1998″. Limited Edition Photograph Print, from States of Change 2024. Matted and Ready to Frame, with a Charles Scott Gallery Certificate of Authenticity. States of Change was a unique offering of Photographic art by photographers looking to support voting rights in 2020. It was then run again in 2024 with ALL NEW photographs and artist. The art was listed as an “open edition” but their offering was limited to an availability time period of only 7 days from October 29 to November 4, 2024. That’s an INCREDIBLY low edition size. Edition: Open but likely only approx. Size: 10″ x 12″ photograph (with border), unframed but matted to 11″ x 14″. Epson Legacy Platine paper. This is a premium 100% cotton fibre paper that combines the look and feel of the original darkroom silver halide print with a true cotton base, and that provides outstanding image permanence and durability. We only use archival/acid-free materials in mounting your artwork. Todd Hido is an American photographer. He has produced 17 books, had his work exhibited widely and included in various public collections (the Whitney and the Art Institute of Chicago for example). Hido is currently an adjunct professor at the California College of the Arts in San Francisco. Let us send you an invoice. Once you pay for them we cannot combine them. While we do not do digital appraisals we are happy to answer questions you might have or consider your item for consignment. And, as always, we will treat you how we want to be treated – with the highest level of customer service of any gallery. WE ARE FANATICAL ABOUT PACKAGING. So far we’ve never had an item arrived damaged. WE RECYCLE FOR THE ENVIRONMENT – so you may find everything from wrapping paper to plastic shopping bags as your packing material. WE NEVER compromise on the safety or cleanliness of your item, so rest assured we WILL get it to you in the shape it left us.

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San Francisco State College Strike Protest Photograph, Thursday January 9, 1969. [“On strike-shut it down”]. Black & White Photograph, 8″ x 10″. The photograph is in very good condition. The date of the. Photograph is stamped on the back.

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117 x 23.5 cm (46.2 x 9.3 in). 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 7th 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 18th 1906. 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 per cent of the total destruction caused by the earthquake resulted from the fires. When it was all over, more than 80 per cent 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. The Bank of Italy 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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His First studio was at Cliff House He Later Moved to a Gallery on Stockton Street. He Received Acclaim for his Photographs of Chinatown and The 1906 Earthquake and Fire and Panama Pacific International Exposition. He Died in Palo Alto in 1946. White Label on Back Says From Grandma Wanikas to Marilyn Very Rare Estate Find. See my other listings. For more great items! Txzj pxzj1967 txzj-11 txzj71 txzj115.

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Worden Sepia Photograph El Palo Alto, CA, Stanford, 19-3/4″ X 8″. Frame measures 22″ x 10-1/4″ overall. Vintage wooden frame with wood backer and wavy glass on front. There is a sticker on the reverse upper right that reads “WILLARD’s. ” by which his work was also referred to as “Willard’s Photography”. No other signatures or marks on the front of photo. Please view photos for exact condition, one small tear on upper corner not seen when in frame. A lovely antique sepia photograph with lovely toning of an iconic historical landmark from Palo Alto, California. Last two photos are from 30X loupe and there is a fine texture to the surface.

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San Francisco State College Strike Protest Photograph, Tuesday, December 3, 1968. [“Bloody Tuesday”] [“On strike-shut it down”]. Black & White Photograph, 8″ x 10″. The photograph is in very good condition. The date of the. Photograph is stamped on the back.

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