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Montgomery Street San Francisco California CA Continent Stereoview. Antique Real Photo Stereoview. Condition – Please refer to photos to assess, curved mounts may appear with a rainbow affect on top and bottom of photos. Please See our other views. Listing and template services provided by inkFrog.

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Watkins New Series – Palace Hotel Interior San Francisco California Stereoview. He found international fame for his award winning photographs of Yosemite, San Francisco, the Pacific coast and subjects throughout the western states. Watkins is best known for his mammoth plate photographs but actually published the majority of his work as stereoviews. They represent a comprehensive look into California and the West from the 1860s through the 1890s. Carleton Watkins was born in Oneonta, New York on November 11, 1829. He traveled to California with Collis Huntington (later to become one of the “Big Four” owners of the Central Pacific Railroad). Watkins was employed by Huntington in Sacramento delivering supplies to the mining operations. After the great Sacramento city fire of November 2-3, 1852 he set out to be a professional photographer. Between 1852 and 1854 Watkins worked as the camera operator for several established photographers including Robert Vance who had a gallery at the corner of Sacramento and Montgomery Streets, near George Murray’s Bookstore where Watkins worked as a clerk. By 1858 Watkins was working on his own, taking on a number of photographic commissions for publishers and individuals, such as James M. Hutching who used the photographs as a source for engravings in his “Illustrated California Magazine”. He produced photographs for evidence in courts of law and also documented the mining estate of John Fremont and his wife Jessie Benton Fremont in Mariposa County and their estate at Black Point. In July of 1861 Watkins traveled to Yosemite equipped with a mammoth-plate camera, which used 18 by 22 inch glass plate negatives, and a stereoscopic camera. These photographs and later Yosemite images, established him as a master of landscape photography. The prints helped influence the U. Congress to pass legislation protecting Yosemite Valley. Watkins may have traveled to Yosemite in 1858-59 and the first 100 stereographs could include a combination of the two trips. Watkins issued his early stereoviews on glass mounts and on card mounts with handwritten titles. These have come to be known as manuscript or hand-signed Watkins views. After about 1863, stereoviews were mounted on yellow cards with printed labels. These were later replaced with orange card stock and printed labels. Watkins won many awards during his career, starting in 1865 with an award for “Mountain Views” at the Mechanics’ Institute Exhibition in San Francisco. In 1867 Watkins won a medal for landscape photographs at the Paris International Exposition and the following year started printing his stereoviews with an acknowledgment of the medal on the back of the card. After problems with Eastern firms pirating his images, Watkins began copyrighted his work in 1867. Hart’s negatives of the construction of the Central Pacific Railroad, probably through his relationship with Collis Huntington. Watkins published them under the series title “Watkins Central Pacific Railroad” using Hart’s original view numbers (1 through 364). Watkins continued to travel widely, making photographic excursions to Northern California, Yosemite and the Sierra Nevada mountains as well as Utah. Watkins photo wagon, which served as a portable darkroom in the field, displayed advertising for his San Francsico studio. In 1871 Watkins moved his studio to number 22-26 Montgomery Street. Located near one of his largest competitors, Thomas Houseworth, & Co, he named the establishment the “Yosemite Art Gallery”. In the mid-1870s both photographers had studios in the first block of Montgomery Street. The location was convenient to tourists staying just across the street at the Lick House, and to the Palace Hotel at the end of the block. While Watkins won acclaim for his artistic efforts he was not considered a good businessman and, during the financial crisis of 1875, lost his studio and negatives to creditor J. Cook, along with photographer I. Taber, took over the Yosemite Art Gallery. Taber began marketing Watkins stereoviews under the I. Taber label, although retaining Watkins original view numbers and titles. In spite of this devastating setback, Watkins began to rebuild his inventory of negatives by revisiting locations he photographed in the 1860’s. He called these views “Watkins New Series” and started numbering at 3000. Over the next ten years Watkins photographed much of California and the western states eventually publishing more than 2300 New Series titles. Subjects include the Central Pacific Railroad, Sierra Nevada mining, Lake Tahoe, Big Trees, Virginia City, southern California, Arizona, the Pacific Northwest, Yellowstone, and of course, extensive coverage of San Francisco and the Bay Area. By the mid-1890’s Watkins deteriorating eyesight and other health problems impacted his ability to work. The earthquake of 1906 destroyed Watkins studio along with the negatives of his life’s work. Watkins died on June 23, 1916 at the age of eighty-seven. Although the negatives were lost, Watkins prints exist today in many private and institutional collections. Please See our other views. Listing and template services provided by inkFrog.

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Watkins Cliff House & Environs San Francisco California Stereoview. He found international fame for his award winning photographs of Yosemite, San Francisco, the Pacific coast and subjects throughout the western states. Watkins is best known for his mammoth plate photographs but actually published the majority of his work as stereoviews. They represent a comprehensive look into California and the West from the 1860s through the 1890s. Carleton Watkins was born in Oneonta, New York on November 11, 1829. He traveled to California with Collis Huntington (later to become one of the “Big Four” owners of the Central Pacific Railroad). Watkins was employed by Huntington in Sacramento delivering supplies to the mining operations. After the great Sacramento city fire of November 2-3, 1852 he set out to be a professional photographer. Between 1852 and 1854 Watkins worked as the camera operator for several established photographers including Robert Vance who had a gallery at the corner of Sacramento and Montgomery Streets, near George Murray’s Bookstore where Watkins worked as a clerk. By 1858 Watkins was working on his own, taking on a number of photographic commissions for publishers and individuals, such as James M. Hutching who used the photographs as a source for engravings in his “Illustrated California Magazine”. He produced photographs for evidence in courts of law and also documented the mining estate of John Fremont and his wife Jessie Benton Fremont in Mariposa County and their estate at Black Point. In July of 1861 Watkins traveled to Yosemite equipped with a mammoth-plate camera, which used 18 by 22 inch glass plate negatives, and a stereoscopic camera. These photographs and later Yosemite images, established him as a master of landscape photography. The prints helped influence the U. Congress to pass legislation protecting Yosemite Valley. Watkins may have traveled to Yosemite in 1858-59 and the first 100 stereographs could include a combination of the two trips. Watkins issued his early stereoviews on glass mounts and on card mounts with handwritten titles. These have come to be known as manuscript or hand-signed Watkins views. After about 1863, stereoviews were mounted on yellow cards with printed labels. These were later replaced with orange card stock and printed labels. Watkins won many awards during his career, starting in 1865 with an award for “Mountain Views” at the Mechanics’ Institute Exhibition in San Francisco. In 1867 Watkins won a medal for landscape photographs at the Paris International Exposition and the following year started printing his stereoviews with an acknowledgment of the medal on the back of the card. After problems with Eastern firms pirating his images, Watkins began copyrighted his work in 1867. Hart’s negatives of the construction of the Central Pacific Railroad, probably through his relationship with Collis Huntington. Watkins published them under the series title “Watkins Central Pacific Railroad” using Hart’s original view numbers (1 through 364). Watkins continued to travel widely, making photographic excursions to Northern California, Yosemite and the Sierra Nevada mountains as well as Utah. Watkins photo wagon, which served as a portable darkroom in the field, displayed advertising for his San Francsico studio. In 1871 Watkins moved his studio to number 22-26 Montgomery Street. Located near one of his largest competitors, Thomas Houseworth, & Co, he named the establishment the “Yosemite Art Gallery”. In the mid-1870s both photographers had studios in the first block of Montgomery Street. The location was convenient to tourists staying just across the street at the Lick House, and to the Palace Hotel at the end of the block. While Watkins won acclaim for his artistic efforts he was not considered a good businessman and, during the financial crisis of 1875, lost his studio and negatives to creditor J. Cook, along with photographer I. Taber, took over the Yosemite Art Gallery. Taber began marketing Watkins stereoviews under the I. Taber label, although retaining Watkins original view numbers and titles. In spite of this devastating setback, Watkins began to rebuild his inventory of negatives by revisiting locations he photographed in the 1860’s. He called these views “Watkins New Series” and started numbering at 3000. Over the next ten years Watkins photographed much of California and the western states eventually publishing more than 2300 New Series titles. Subjects include the Central Pacific Railroad, Sierra Nevada mining, Lake Tahoe, Big Trees, Virginia City, southern California, Arizona, the Pacific Northwest, Yellowstone, and of course, extensive coverage of San Francisco and the Bay Area. By the mid-1890’s Watkins deteriorating eyesight and other health problems impacted his ability to work. The earthquake of 1906 destroyed Watkins studio along with the negatives of his life’s work. Watkins died on June 23, 1916 at the age of eighty-seven. Although the negatives were lost, Watkins prints exist today in many private and institutional collections. Please See our other views. Listing and template services provided by inkFrog.

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Watkins Palace Hotel Market St Montgomery St San Francisco California Stereoview. He found international fame for his award winning photographs of Yosemite, San Francisco, the Pacific coast and subjects throughout the western states. Watkins is best known for his mammoth plate photographs but actually published the majority of his work as stereoviews. They represent a comprehensive look into California and the West from the 1860s through the 1890s. Carleton Watkins was born in Oneonta, New York on November 11, 1829. He traveled to California with Collis Huntington (later to become one of the “Big Four” owners of the Central Pacific Railroad). Watkins was employed by Huntington in Sacramento delivering supplies to the mining operations. After the great Sacramento city fire of November 2-3, 1852 he set out to be a professional photographer. Between 1852 and 1854 Watkins worked as the camera operator for several established photographers including Robert Vance who had a gallery at the corner of Sacramento and Montgomery Streets, near George Murray’s Bookstore where Watkins worked as a clerk. By 1858 Watkins was working on his own, taking on a number of photographic commissions for publishers and individuals, such as James M. Hutching who used the photographs as a source for engravings in his “Illustrated California Magazine”. He produced photographs for evidence in courts of law and also documented the mining estate of John Fremont and his wife Jessie Benton Fremont in Mariposa County and their estate at Black Point. In July of 1861 Watkins traveled to Yosemite equipped with a mammoth-plate camera, which used 18 by 22 inch glass plate negatives, and a stereoscopic camera. These photographs and later Yosemite images, established him as a master of landscape photography. The prints helped influence the U. Congress to pass legislation protecting Yosemite Valley. Watkins may have traveled to Yosemite in 1858-59 and the first 100 stereographs could include a combination of the two trips. Watkins issued his early stereoviews on glass mounts and on card mounts with handwritten titles. These have come to be known as manuscript or hand-signed Watkins views. After about 1863, stereoviews were mounted on yellow cards with printed labels. These were later replaced with orange card stock and printed labels. Watkins won many awards during his career, starting in 1865 with an award for “Mountain Views” at the Mechanics’ Institute Exhibition in San Francisco. In 1867 Watkins won a medal for landscape photographs at the Paris International Exposition and the following year started printing his stereoviews with an acknowledgment of the medal on the back of the card. After problems with Eastern firms pirating his images, Watkins began copyrighted his work in 1867. Hart’s negatives of the construction of the Central Pacific Railroad, probably through his relationship with Collis Huntington. Watkins published them under the series title “Watkins Central Pacific Railroad” using Hart’s original view numbers (1 through 364). Watkins continued to travel widely, making photographic excursions to Northern California, Yosemite and the Sierra Nevada mountains as well as Utah. Watkins photo wagon, which served as a portable darkroom in the field, displayed advertising for his San Francsico studio. In 1871 Watkins moved his studio to number 22-26 Montgomery Street. Located near one of his largest competitors, Thomas Houseworth, & Co, he named the establishment the “Yosemite Art Gallery”. In the mid-1870s both photographers had studios in the first block of Montgomery Street. The location was convenient to tourists staying just across the street at the Lick House, and to the Palace Hotel at the end of the block. While Watkins won acclaim for his artistic efforts he was not considered a good businessman and, during the financial crisis of 1875, lost his studio and negatives to creditor J. Cook, along with photographer I. Taber, took over the Yosemite Art Gallery. Taber began marketing Watkins stereoviews under the I. Taber label, although retaining Watkins original view numbers and titles. In spite of this devastating setback, Watkins began to rebuild his inventory of negatives by revisiting locations he photographed in the 1860’s. He called these views “Watkins New Series” and started numbering at 3000. Over the next ten years Watkins photographed much of California and the western states eventually publishing more than 2300 New Series titles. Subjects include the Central Pacific Railroad, Sierra Nevada mining, Lake Tahoe, Big Trees, Virginia City, southern California, Arizona, the Pacific Northwest, Yellowstone, and of course, extensive coverage of San Francisco and the Bay Area. By the mid-1890’s Watkins deteriorating eyesight and other health problems impacted his ability to work. The earthquake of 1906 destroyed Watkins studio along with the negatives of his life’s work. Watkins died on June 23, 1916 at the age of eighty-seven. Although the negatives were lost, Watkins prints exist today in many private and institutional collections. Please See our other views. Listing and template services provided by inkFrog.

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Condition: stained horizon, right photo edge scratch/mark, dusty/dirtied, worn corner, dark reverse wear.

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This item is part of the Dr. Thurman Kelso Treadwell Collection of stereoview cards, the largest and perhaps the most important privately held stereoview collection ever amassed. We have one of the largest collections of rare stereoviews and stereo trade cards in North America. Please see our other listings for more great and rare items. Condition is antique pre-owned. Please see photos for condition. WHS Stereoview – The World’s Largest Stereoview Dealer.

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SAN FRANCISCO CALIFORNIA EARTHQUAKE PHOTOGRAPHER – STEREOVIEW PHOTO 1906. THE GREAT 1906 SAN FRANCISCO EARTHQUAKE PHOTOGRAPHER STEREOVIEW PHOTO 1906. The San Francisco, California earthquake of April 18, 1906 ranks as one of the most significant earthquakes of all time. The San Francisco Earthquake, April 18. DIMENSIONS: 3 1/2″ x 7″. SHARP FOCUS WITH VERY GOOD CONTRAST. THIS IS NOT A COPY OR A REPRODUCTION.

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SAN FRANCISCO 1ST CLIFF HOUSE’S VIEW OF OCEAN BEACH 1877 STEREOVIEW PHOTO. SAN FRANCISCO 1ST CLIFF HOUSE’S VIEW OF OCEAN BEACH, SAN. CAPTIONED IN THE LOWER FRONT LEFT MAT. 1203 Looking down the Beach, from the Cliff House, San Francisco, Cal. In 1877, Enoch Conklin traveled around the Arizona Territory photographing for the Continent Stereoscopic Company. He photographed a variety of events and places, including towns, mines and mining, Native Americans, the arrival of the first locomotive in Arizona, and the completion of the railway bridge across the Colorado River near Yuma. Conklin augmented his own photographs by acquiring the negatives or copying the work of other photographers in the Territory. The Mining Record Printing Establishment published Conklin’s travelogue as Picturesque Arizona: Being the Result of Travels and Observations in Arizona During the Fall and Winter of 1877. The book included engravings of images taken and gathered by Conklin, but credited them to the Continent Stereoscopic Company. PHOTOGRAPHER’S ADVERTISEMENT ON REVERSE. Conklin’s Picturesque Arizona. The Most Thoroughly Descriptive Book on Arizona, in Existence. AND THE RICH SILVER MINING INTERESTS. SHARP FOCUS VERY GOOD CONTRAST. DIMENSIONS: 6 15/16″ x 4 3/16″.

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This is a stereoview (also known as a stereograph or stereoscope card). It was one of the first forms of 3D photography. Published by Popular Series, well known publishers of “copy views” (aka pirated images).

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12 Griffith Stereoview Cards 1906 San Francisco California Earthquake.

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