https://sanfranciscosanfrancisco.com Wed, 15 Apr 2026 05:20:36 +0000 en-US hourly 1 https://wordpress.org/?v=4.1.1 https://sanfranciscosanfrancisco.com/2026/04/1974-hollmann-birds-eye-view-pictorial-map-of-downtown-san-francisco-california/ https://sanfranciscosanfrancisco.com/2026/04/1974-hollmann-birds-eye-view-pictorial-map-of-downtown-san-francisco-california/#comments Fri, 03 Apr 2026 16:56:47 +0000 https://sanfranciscosanfrancisco.com/2026/04/1974-hollmann-birds-eye-view-pictorial-map-of-downtown-san-francisco-california/

























1974 Hollmann Bird’s Eye View Pictorial Map of Downtown San Francisco California. Item is vintage/preowned, see photos for condition. NOTE: Shows some signs of age/wear. Some foxing/marks in the bay. Some wrinkles on the edges. Some soiling and rough edges, but no rips/tears/pinholes (marks in upper left are from soil/age). SALE IS ONLY FOR ITEMS PICTURED UNLESS OTHERWISE NOTED. We do not monitor inquiries Saturday, Sunday or holidays. We source from estates in San Francisco California and therefore have limited knowledge as to the past life of listed items. Unless otherwise noted, electronic items will be tested to power on. We love happy customers!

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This 1990 promotional map of Alameda by T. Graphics features a clever distortion of perspective to fill the majority of the map with Alameda Island. The viewer looks west; beyond Alameda. San Francisco Bay is reduced in size and shape such that the Bay and Golden Gate Bridges are almost on top of each other. This cartographic trick allows for a detailed presentation of business and professional services. Maps promoting local commercial interests became popular in the 1980s and 1990s, but this is the rare map that also has caricatures of the business owners themselves. Check it out and enjoy! Alameda is a city in Alameda County, California, United States. It is located on Alameda Island and Bay Farm Island. It is adjacent to and south of Oakland and east of San Francisco across the San Francisco Bay. Alameda occupies what was originally a peninsula connected to Oakland. Much of it was low-lying and marshy. The higher ground nearby and adjacent parts of what is now downtown Oakland were the site of one of the largest coastal oak forests in the world. Alameda is Spanish for’grove of poplar trees,’ or’tree-lined avenue. It was chosen as the name of the city in 1853 by popular vote.

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A whimsical pictorial view of the Potrero Hill, Dogpatch, and Mission Bay neighborhoods of San Francisco, produced in 1988 by City Graphics. It serves as an important reminder of the drastic changes, as well as some continuities, in the area over the past several decades. The view is oriented towards the north, with San Francisco Bay at right and the U. 101 highway at left. Interstate-280 also appears towards the right, giving the viewer some recognizable landmarks for orientation. However, liberties have been taken with geography and perspective, which are’twisted,’ perhaps to fit in more businesses. A text box above the title introduces the neighborhood and its history, including its growth in the aftermath of the 1906 earthquake and fire. Several of the businesses present here still exist, including but not limited to the Bottom of the Hill, Goat Hill Pizza, the Bay View Boat Club, and the Anchor Brewing Co. San Francisco’s oldest brewery (recently closed, perhaps forever). Others were local institutions at the time but have since closed, such as the Pickle Family Circus. The area near the Mission Creek Channel (the greenspace at top-center) has undergone tremendous change since this view was published. At that time, it was a mostly industrial area, but has since been redeveloped, with luxury condominiums and high-end restaurants adjacent to the newly-built Chase Center (home of the Golden State Warriors), UCSF Mission Bay medical campus, and the Kaiser Permanente Mission Bay Medical Offices. Another notable addition is the San Francisco Muni’s T Third Street light rail line, which began operations in 2007 and was recently extended to Union Square and Chinatown via the Central Subway project. This view was designed and illustrated by Rob Zell-Breier and published by City Graphics in 1988.

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Francis Hotel & Union Square. Medium: Vintage Silver Gelatin Print. Artist stamp on verso. Measurements: 7 9/16 x 9 1/2 in. 14 x 20 in. Condition: Very good condition. Provenance: Peter Fetterman Gallery Santa Monica CA. Linden Hayes Fine Art, San Francisco, CA. After studying at the University of California at Berkeley, New York-born Oscar Maurer opened a photography studio in San Francisco. He became an associate member of Alfred Stieglitz’s Photo-Secession and the first California-based photographer to achieve national prominence. The only entrant from California in the first Chicago Camera Club Salon of 1900, Maurer received critical acclaim for his atmospheric landscape photograph. Encouraged by this success, he helped establish the first San Francisco Salon, held at the Mark Hopkins Institute of Art in 1901. Maurer regularly contributed his Pictorialist landscape photographs to. The journal of the California Camera Club, and to. Stieglitz’s influential publication. In 1906 Maurer, like many Bay Area photographers, lost his studio and its contents in the San Francisco earthquake and fire. He reopened across the bay in Berkeley, where he remained for the rest of his life. Thank You for Looking and Supporting our Small business.

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“The Ferry Building Illuminated at Night”. Medium: Vintage Silver Print. Measurements: 4 7/8 x 7 3/4 in. 14 x 20 in. Reads beautifully in person. Provenance: Peter Fetterman Gallery Santa Monica CA. Linden Hayes Fine Art, San Francisco, CA. After studying at the University of California at Berkeley, New York-born Oscar Maurer opened a photography studio in San Francisco. He became an associate member of Alfred Stieglitz’s Photo-Secession and the first California-based photographer to achieve national prominence. The only entrant from California in the first Chicago Camera Club Salon of 1900, Maurer received critical acclaim for his atmospheric landscape photograph. Encouraged by this success, he helped establish the first San Francisco Salon, held at the Mark Hopkins Institute of Art in 1901. Maurer regularly contributed his Pictorialist landscape photographs to. The journal of the California Camera Club, and to. Stieglitz’s influential publication. In 1906 Maurer, like many Bay Area photographers, lost his studio and its contents in the San Francisco earthquake and fire. He reopened across the bay in Berkeley, where he remained for the rest of his life. Thank You for Looking and Supporting our Small business.

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Date: circa 1920’s. Medium: Vintage Gelatin Silver Print. Printed single light weight paper. Measurements : 6 7/8 by 8 3/4″, 16 x 20″ matted. Provenance: Peter Fetterman Gallery Santa Monica CA. Linden Hayes Fine Art, San Francisco, CA. Sigismund Blumann was a prominent taste maker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. Between 1923 and 1932, his pictures were accepted at photographic salons in Amsterdam, Toronto, Rochester, Seattle, and Los Angeles. In 1927, a one-person exhibition of his bromoil prints traveled to camera clubs in Chicago, Akron, Cincinnati, and New York. In addition to bromoil, a process that yields pointillistic images, Blumann utilized such unusual processes as kallitype (Vandyke brown), lithobrome, and pastelograph (the latter two were probably his inventions) to create original photographs using chemical processes he invented. From 1924-33, Blumann edited. The leading West Coast photographic monthly. Subsequently, he established his periodical. Which he published until 1940. In these two magazines – for over 15 years – Blumann found a large audience of mainstream pictorial photographers. Thank You for Looking and Supporting our Small business.

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Evening Star, Treasure Island 1939. Vintage Gelatin Silver Print. Signed in plate, titled, dated verso. 7 3/4 x 9 1/2″, (16 x 20″ matted). Condition: very fine condition. Provenance: private collection, San Francisco. After studying at the University of California at Berkeley, New York-born Oscar Maurer opened a photography studio in San Francisco. He became an associate member of Alfred Stieglitz’s Photo-Secession and the first California-based photographer to achieve national prominence. The only entrant from California in the first Chicago Camera Club Salon of 1900, Maurer received critical acclaim for his atmospheric landscape photograph. Encouraged by this success, he helped establish the first San Francisco Salon, held at the Mark Hopkins Institute of Art in 1901. Maurer regularly contributed his Pictorialist landscape photographs to. The journal of the California Camera Club, and to. Stieglitz’s influential publication. In 1906 Maurer, like many Bay Area photographers, lost his studio and its contents in the San Francisco earthquake and fire. He reopened across the bay in Berkeley, where he remained for the rest of his life. Museum Collections: Getty Museum, Los Angeles, CA. Oakland Art Museum, CA. Minneapolis Institute of Art Collection, MN. Thank You for Looking and Supporting our Small business.

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Fully signed right lower corner. Medium: Vintage Silver Print. Condition: Very good condition. Measurements: 11 x 13 7/8″, (16 x 20″ matted). Provenance: Linden Hayes Fine Art; Private collection San Francisco. Fletcher was most known for her pleasant still life photographs, which were popular in salons, magazines, and competitions in the 1930s and 1940s. She was born around 1872, as she claimed she was sixty-six years old in late 1938. In 1910, she was working as a dressmaker in San Francisco, and her husband, Charles, was a carpet layer. By 1912, Fletcher was sending her photographs to magazines, and over the next five years she won honorable mentions from the East-Coast monthlies Photo Era and American Photography. The only known articles written by her were one on making soft prints from sharp negatives, published in the March 1913 issue of Photo Era, and one on flower photography in Camera Craft in February 1914. She maintained a low profile from about 1918 to 1930 and then reemerged in 1931, when she was nearly sixty years old. About this time, her husband died and she studied photography with P. Douglas Anderson at the University of California extension. The 1930s were particularly productive for Fletcher. She now focused on sending her prints to the competitions of Camera Craft and Photo-Art Monthly, San Francisco-based magazines edited by Sigismund Blumann. Appreciating her work, Blumann penned a lead article on Fletcher for the January 1935 issue of the latter. She became a member of the Photographic Society of San Francisco, and in 1933 the California Camera Club (San Francisco) gave her a one-person exhibition. The American Annual of Photography reproduced her images for five years straight, from 1934 to 1938. Her work was accepted in up to nineteen salons a year into the early 1940s. After making some landscapes and portraits early on, Fletcher produced still lifes almost exclusively for most of her career. Realizing her knack for the subject, she concentrated on classical arrangements of flowers, vases, bowls, and fruit. She preferred a combination of natural and artificial light, used a minimum of equipment, and photographed at f. 22 to get sharp negatives. During enlarging, however, she usually drew chiffon over the lens to gently diffuse the image. She also sometimes hand-colored her finished prints, making them even more accessible to the general public. American Photography reproduced six of her pictures in the early 1940s, the last one (of daises) appearing in its June 1945 issue. Fletcher retired to the Episcopal Home for Elderly Women sometime in the 1950s, a decade after apparently ceasing serious photographic work. She died there on July 13, 1961. Peterson Pictorial Photography at the Minneapolis Institute of Arts Christian A. Thank You for Looking and Supporting our Small Gallery.

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8 “The Daylight” limited, San Francisco to Los Angeles, along the California Coast post cards. Post card is number 534. Made by Stanley A. Powered by SixBit’s eCommerce Solution.

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THE CASTRO, SAN FRANCISCO (1985) Pictorial map / poster by Graham Bruce. [San Francisco]: Community Pride, 1985. Vintage original 24 x 36 61 x 91.5 cm. Unfolded, minor crimping at bottom left corner, some minor additional wear in a few places at edges, but just about fine with vibrant colors. A vibrant portrayal of San Francisco’s Castro neighborhood at a time of great social activism but also at a moment when the LGBTQ community was being devastated by the AIDS epidemic. The map spotlights many of the establishments which catered to the gay community. We are treated to an oblique perspective of the neighborhood. Structuring the view is an orthogonal grid of blue lines representing the area’s main streets. In the spaces created between these streets we find an abundance of imagery depicting life — and especially nightlife — in the district. At the forefront, most of the scenes are centered on a variety of human figures. Many of them have deliberately been drawn as neutral figures, in some cases hardly more than an outline. But many also include details that anchor the scenes to San Francisco, including 49er football jerseys, CA license plates or ganja-toting hippies. The map includes many different images of gay men, with an impressive array of mustaches and cowboy hats. There are various portrayals of men hugging, dancing and generally hanging out and being themselves. This map is an extraordinary time capsule — and an exceedingly rare one. It must come back in the same condition as it was sent. AUTHENTICATION: My name is Walter Reuben. I have been collecting movie posters since 1978. I have been a full-time dealer since 1982. Everything which I sell is fully researched and entirely guaranteed to be completely authentic and as described. A lifetime of experience goes behind every description of every piece which I offer. ABOUT ME: For further information, go to the ABOUT ME.

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