Waters, FrankBiblio.com
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199468940Various places 1994. Frank Waters 1902-1995 was perhaps the preeminent writer of the American Southwest in the 20th century. His writings described the culture of the Southwest in all of its diversity - Anglo Hispanic and Native American. He wrote fiction history and interpretive studies. Terence A. Terry Tanner a friend of many in the book trade was a respected antiquarian book dealer and at the time of his death in 2003 was owner of the Chicago-based firm Hamill & Barker. Terry was born in Chicago in 1948 attended Knox College in Galesburg IL where he met the antiquarian book seller Clare Van Norman Sr. who introduced him to the book trade. When Terry graduated from Knox College in 1970 he moved back to Chicago where he found a job working as the office manager for Van Allen Bradley the rare book dealer and literary editor of the Chicago Daily News. Tanner next worked as an assistant to the distinguished antiquarian Kenneth Nebenzahl and in 1975 became an assistant to the well-known booksellers Frances Hamill and Margery Barker. He became the sole owner of their firm in 1987 following the death of Ms. Hamill Ms. Barker having died in 1980. Terry was introduced to the writings of Frank Waters by Morton Weisman of the Swallow Press in 1970. He continued purchasing books by Waters throughout the early and middle 1970's and near the end of that decade decide to undertake a descriptive bibliography of Waters' work. That bibliography was published by Meyerbooks of Glenwood Illinois in the late summer of 1983 as Frank Waters: A Bibliography with Relevant Selections from His Correspondence. This collection is the basis for that bibliography. The collection contains the first printing of every primary work published by Frank Waters from his first book published in 1930. Moreover every copy is present in the original dust jacket and was the product of continual upgrading. In addition the collection contains numerous later printings of all of Waters's books including some that are rarer than the first printings. For example while preparing his bibliography Terry was unable to locate a copy of the paperback printing of Diamond Head issued under the title Secret Affair. That printing finally was added to the collection. Frank Waters destroyed the manuscripts for his early books and those that exist for most of his other works are already in institutions. The Tanner collection contains the corrected carbon typescript of the manuscript for Leon Gaspard which is probably the only manuscript of Frank Waters in private hands. The Tanner collection must certainly rank among the very best collections of Frank Waters in private hands today. A detailed inventory with all the items listed according to Tanner's bibliography in chronological order is available on request. unknown
18892356Paris, Imprimerie Autog. Aost & Gentil, sans date [1889]. In-Plano – 49 x 65 cm. Reliure de l’époque en demi-chagrin bleu marine à coins, triples filets à froid en encadrement des plats de toile, titre, dates et blason parisien dorés sur le premier plat. Exemplaire entièrement monté sur onglets. 1 f. bl. ; 2 planches doubles + 4 planches (6 photographies originales), 1 p. (titre), 3 p. (texte autographié imprimé), 19 planches doubles (plans, coupes, façades et détails). ALPHAND ; HUET ; BECHMANN ; DIET ; JOURNET ; DUTOIT ; VILLE DE PARIS (auteurs). Entrepreneurs : LAZIES (maçonnerie). MATHELIN et GARNIER (Fontainerie). Rare et important ouvrage illustré de 6 photographies originales, dont 2 sur double page, et de 19 planches doubles, techniques et architecturales, témoignant de l’ampleur des travaux effectués à Montmartre à la fin du XIXe siècle, afin d’améliorer l’alimentation en eau d’un quartier en pleine croissance démographique. En effet, les sources naturelles présentes sur les flancs de la butte qui alimentèrent longtemps de nombreuses fontaines ne suffisaient plus : il fallait donc aller capter de l’eau de rivières (ce que permet dès 1834 une machine hydraulique édifiée à Saint-Ouen), la monter au sommet – au moyen d’une pompe à vapeur -, et enfin la stocker, d’où la construction en 1835 d’un château d’eau qui fonctionnera jusqu’en 1927. A partir de 1887, sous la houlette d’Adolphe Alphand, Directeur des Travaux de la Ville de Paris, sont entrepris deux chantiers de grande envergure. Le premier est la construction de deux réservoirs (un « grand » et un « petit »), dotés d’une capacité totale de 11 000 m3, dont la conception est confiée aux ingénieurs Bechmann et Journet et les plans sont dressés par l’architecte Diet (photographies 4 et 5). L’ouvrage occupe l’emplacement de l’ancien pressoir à raisins de l’abbaye des Dames de Montmartre, rue Azaïs, sur une colline sableuse à environ 128 m d’altitude. La nature du sol complexifie énormément les travaux, d'autant que l'usage du béton pour les fondations, d'un coût prohibitif, est exclu. Les deux concepteurs ont donc misé sur la pression de l'eau contenue dans les réservoirs pour stabiliser le banc de sable présent à cet endroit. Néanmoins, une partie de ce sable (avec les gravats) fut évacuée par des wagonnets tirés par une locomotive à vapeur (photographie 3), tandis que l'on imaginait d'ingénieux systèmes pour garantir l'étanchéité de l'édifice. Le sous-sol, les murs et le sol sont donc réalisés en meulière, les voûtes de la couverture en briquettes, et les piliers intérieurs en maçonnerie de brique de Bourgogne. Autre contrainte : la proximité du Sacré-Cœur (édifié à partir de 1886), qui requiert une harmonisation du style décoratif du bâtiment avec l’architecture néo-byzantine de la basilique (photographie 6), et là intervient le calcaire blanc des carrières de Souppes-sur-Loing et Château-Landon. Le second chantier de cette même année 1887 est celui de la nouvelle usine de relevage (ou élévatoire) Saint-Pierre, qui alimente à la fois le château d’eau et le réservoir. Ce dernier, définitivement opérationnel en 1889, pourvu de respectivement deux et trois étages, distribue l’eau dans les quartiers bas de Montmartre encore de nos jours. Les deux premières photographies, sur doubles pages, prises en 1886 et 1889, attestent de la transformation du paysage de la butte lorsque les réservoirs sont achevés.
188014974Shanghai 1880. 880 by 960mm. 34.75 by 37.75 inches. Lithographed map dissected and laid down on linen in 24 sections with contemporary hand-colour in full; preserved in original publisher's green cloth slipcase. Compiled by Thomas Waters 1842-1898 "expressly for Sportsmen" slipcase label. Waters was an Irish civil engineer and architect who carved out a successful early career in Japan designing the Imperial Mint in Osaka and the headquarters for the Imperial Japanese Army. He worked briefly in Shanghai in the 1880s before going out to Colorado to join his brothers in silver and gold mining. This map also appeared in cyanotype probably originally drawn up as part of Waters' bid for the commission to construct a new waterworks in Shanghai. Waters was a strong contender in the competition as he had experience in the field: he was partially responsible for the construction of Japan's first sewer system. Rare: OCLC locates only two institutional examples those in the BnF and University of Chicago. hardcover
1998163H1402New York: Seven Stories Press. Very Good in Very Good dust jacket. 1998. First Printing. Hardcover. 1888363681 . Signed and inscribed by Gary Webb upon half-title page. "Shows how the L.A. crack market flourished through a breathtaking combination of government negligence greed and criminal conduct. Demonstrates that U.S. government agencies including the CIA DEA and FBI were aware of the activities of this well-connected drug network and did little or nothing to stop it. Indeed in several instances documented here the Justice Department the CIA and the secret National Security Council unit run by Oliver North took extraordinary steps to protect the ring from public exposure. In the final chapters Webb reveals the conflict that led to his newspaper's stunning repudiation of its own series - and at what cost he stood by his story." - dust jacket. xxviii 548 pages. Footnotes glossary and index. Webb was found dead in his home in 2004 with two gunshot wounds to his head. Curiously his death was ruled a suicide. Clean and unmarked with light wear. Dust jacket preserved in glossy new archival-grade mylar. A quality signed example of this heroic work.; 8vo - over 7¾" - 9¾" tall; Dark Alliance: The CIA the Contras and the Crack Cocaine Explosion Conspiracy California Los Angeles Habit Counterrevolutionaries Nicaragua United States Central Intelligence Agency Black African Americans Social Destruction Investigative Journalism; Signed by Authors . Seven Stories Press hardcover
200591012Hatje Cantz Publishers. New. 2005. Paperback. 3775714855 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- TWO 2 VOLUME SET. 408 pages 475 illustrations most in color. Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee Hatje Cantz Publishers paperback
1890List2833Shasta County and Siskiyou County 1890. Fifteen photographs approximately 4 ½ x 7 ½ inches. Each mounted on heavy cardboard backing approximately 5 ½ x 8 ½ inches which is mounted on heavy cardboard of approximately 8 x 10 ½ inches. Unknown if photographs are stamped verso due to mounting. Some with recent captions on the largest mount; some captions likely incorrect see description. Fine contrast overall fine condition. Raper James Waters 1856–1937 was a professional photographer from Sacramento California. He was first active as a photographer in Gold Hill Nevada in the 1880s. Following this he returned to California and had studios in Berkeley and San Francisco between the late 1880s and mid-1920s. Offered here is a collection of fifteen of Waters’ photographs from around Mount Shasta likely from the late 1880s or 1890s.<br /> <br /> The photographs are mainly from places in Siskiyou County where Mount Shasta is located including shots of the towns of Sisson now Mount Shasta and Dunsmuir Sisson and Dunsmuir are on the Siskiyou Trail an ancient Native American footpath running from the San Francisco area to Portland Oregon. The Central Pacific Railroad Company completed a train line along the Siskiyou Trail in 1887; one shot from an unknown location shows railroad tracks rounding a curve among felled trees. Just outside of Dunsmuir is the Shasta Springs resort mislabeled here as Shasta Bottling Works famous for its springwater – the fountains of water in the photograph are from pressurized pipes coming from the springs.<br /> <br /> Other captioned photographs show Castle Crags hikers summiting Mount Shasta Mossbrae Falls and Castle Lake mislabeled as Crystal Lake. Photographs also show campers with their tent small houses a canoe on a lake and snowy winter scenes. Overall a striking set of photographs. unknown
1987152039N.p.: N.p. 1987. Shooting script for the 1988 film. Presentation copy belonging to actress Ricki Lake with her holograph annotations throughout and xerographically duplicated inscriptions to Lake as intended when the script was bound from director John Waters actors Divine Shawn Thompson Debbie Harry Pia Zadora and others bound in before the script. With several production documents bound in after the script including a 34-page shooting schedule call sheets contact information for cast and crew and maps of Baltimore and a thank-you letter to Waters from Lake. <br/><br/>Cult independent director John Waters' most enduring film following a kindhearted "pleasantly plump" teenager who becomes an overnight sensation on a local television dance show and subsequently uses her newfound fame to speak out in support of integration. Basis for the Tony Award winning 2002 musical and subsequent 2007 film adaptation directed by Adam Shankman and starring Nikki Blonsky Michelle Pfeiffer and John Travolta. <br/><br/>Set and shot on location in Baltimore Maryland.<br/><br/>Black full leather binding with gilt titles and rule and Lake's name to the bottom right corner of the front wrapper. Title page present dated 1987 noted as Shooting Script with credits for director John Waters. 89 leaves with last page of text numbered 93. Xerographic duplication rectos only. Pages Very Good plus wrapper Near Fine with perfect binding. With a small label to the bottom right corner of the inside front wrapper noting custom binding by Ronnie Gousman. <br/><br/>Rosenbaum 1000. N.p. unknown books
Cartella completa contenente 12 acqueforti e due disegni firmati Decroix che raffigurano due dei ritratti incisi. “Il a été tiré de cette suite 75 exemplaires numérotés sur papier de hollande. Exemplaire n. 3” con firma autografa dell’autore. I ritratti raffigurano siberiani, tartari, coreani, “enfants de troupe” ecc. Ogni acquaforte (il foglio misura cm 33x26) reca la firma di Decroix a matita, e il titolo del ritratto. Lo stesso Decroix (Lille 1878-1936 Parigi) fu prigioniero di guerra e passò due anni in un campo in Germania, liberato nel 1916 raggiunse la familgia a Berna per poi trasferirsi a Parigi. Assai raro.
185641598London: J & C. Brown & Co. 1856. 1856. First edition. First edition of this Queen’s Quorum title #2 preceded only by Poe’s Tales in the history of the detective short story. A rare book to find in the original yellowback format; original covers laid down lacking the spine former owner's small name stamp on front pastedown sheet and a small inked number on the front fly leaf else a very good copy with interior clean. "Waters" is identified as a detective in the Metropolitan police and many of his cases are reported in this book which is quite readable. This book is a result of the publicity and public relations of the new Metropolitan Police which had been established in the 1820s. An interesting and early historical book in the early days of crime and mystery fiction. Also an early Haycraft/Queen Cornerstone mystery title and a rare book. Housed in a cloth clamshell case with titles stamped in red on the spine and front cover of the book reproduced on the front of the case. J & C. Brown & Co., [1856]. hardcover
2005C91012Hatje Cantz Publishers. As New. 2005. Paperback. 3775714855 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - FLAWLESS COPY BRAND NEW PRISTINE NEVER OPENED -- TWO 2 VOLUME SET. 408 pages 475 illustrations most in color. Catalogue Raisonne Catalog Raisonné Complete Works Life and Work Raisonnee -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Hatje Cantz Publishers paperback
Arm4210 Album oblong( 56 X 35 cm ) titré Gravures Eugène Bléry au 1er plat et au dos - Ensemble de 27 eaux fortes sur Chine appliqué sur velin fort - Dimensions des eaux fortes variables ( 13X10 / 17X14,5 / 17X12 / 27X19 / 25X17/ 31X22 / etc) - Quelques rousseurs dans certaines marges - Album demi basane , mors et coins frottés - 7 Eaux fortes sont signées dans la marge au crayon - Elles sont toutes légendées - Les dates s'échelonnent entre 1838 et 1857 .Elles représentent des paysages ou des fleurs . Eugène Bléry ( 1805-1887) ful l'un des maîtres de l'eau forte au 19e - Il tirait lui mème ses gravures et détruisait ses épreuves intermédiaires .Il a laissé moins de 300 eaux fortes . Exceptionnelle réunion .
Arm4210 Album oblong( 56 X 35 cm ) titré Gravures Eugène Bléry au 1er plat et au dos - Ensemble de 27 eaux fortes sur Chine appliqué sur velin fort - Dimensions des eaux fortes variables ( 13X10 / 17X14,5 / 17X12 / 27X19 / 25X17/ 31X22 / etc) - Quelques rousseurs dans certaines marges - Album demi basane , mors et coins frottés - 7 Eaux fortes sont signées dans la marge au crayon - Elles sont toutes légendées - Les dates s'échelonnent entre 1838 et 1857 .Elles représentent des paysages ou des fleurs . Eugène Bléry ( 1805-1887) ful l'un des maîtres de l'eau forte au 19e - Il tirait lui mème ses gravures et détruisait ses épreuves intermédiaires .Il a laissé moins de 300 eaux fortes . Exceptionnelle réunion .
1957154176Hollywood: Roger Corman Productions 1957. Draft script for the 1957 film. Copy belonging to actor Dick Miller who had a sizable role in the film with his name to the title page and his manuscript pencil and ink annotations throughout. <br /> <br /> The finished film runs a little over an hour so the script at 127 pages was cut down substantially in the filming and editing process leaving a remarkable amount of content for study.<br /> <br /> An alienated wealthy coed at an all-girls boarding school inflicts increasing cruelties on the other students until her manipulation goes too far. An early role for Miller who appeared in 14 films directed by legendary independent filmmaker Roger Corman between 1955 and 1961 and would continue to work with Corman throughout his career.<br /> <br /> Brown titled wrappers. Title page present undated with credits for screenwriter Ed Waters. 128 leaves with last page of text numbered 127. Mimeograph duplication rectos only. Pages and wrapper Near Fine bound internally with three silver brads. Roger Corman Productions unknown
18561476811856-1937. Collection of approximately 393 photographic prints of ships in the San Francisco Harbor taken at the turn of the twentieth century. Photographs of full rigged sailing ships clipper ships whaling barks tramp steamers steam trawlers and a torpedo boat are in the collection many stamped Waters Company or R.J. Waters & Co. San Francisco. Ships from all around the world are represented including Scotland the United Kingdom Australia Germany Sweden and the United States. Many show San Francisco docks skyline and headlands as the setting one depicting Alcatraz in the background. In very good condition. The photographs measure approximately 8 inches by 10 inches. Collected in four large folios. R.J. Waters a lesser-known figure in the realm of early photography made notable contributions to documenting maritime life and industrial advancements in the late nineteenth century. His collection of photographs captured the transition from sail to steam power showcasing ships harbors and coastal communities with remarkable detail. These images not only served as a visual record of the maritime industry during a transformative era but also highlighted the socio-economic impact of technological progress on seafaring communities. Waters' work bridged art and historical documentation providing valuable insights into the aesthetics of industrial photography and the role of visual media in preserving maritime heritage. Today his photographs are regarded as important artifacts for studying the intersection of maritime history technology and visual culture. unknown
19723806Baltimore MD: Dreamland Productions 1972. First Printing. Poster. Fine. First Printing. Poster. This is an original poster for the "Gala World Premiere" of John Water's Pink Flamingos at the Baltimore Film Festival III. Genuinely rare particularly in fine condition and far more desirable than the reasonably common general release poster. A wonderful addition to a serious Waters' collection. Pink Flamingos premiered in 1972 at the third Baltimore Film Festival held on the University of Baltimore campus where it played to sold-out audiences for three shows. Gradually relying on word-of-mouth the movie gained a following and repeat viewing in the art-house circuit. Bright and unmarred. Black printing on pink cardstock. 16x20.25 Dreamland Productions unknown
193015457Paris, Devambez, 1930 ; in-4, en ff., couverture crème rempliée, chemise demi-percaline bleue, titre doré au dos, étui avec couvercle plein chagrin brique, dos rond à nerfs, titre doré (reliure de l'éditeur) ; (4), 77, [78], (4) pp., (2) ff. bl., 20 eaux-fortes dont 17 hors-texte.
1905005958Paris: Calmann-Lévy 1905. FIrst Limited Edition. Half Morocco. Marbled boards. Original wraps bound in. . Very Good. A special copy given to Mary Jacobson who was France's fiancee at the time and thus outside the limitation of 300 with qualities straddling two of the limitation tranches. With an original pencil sketch of Jacobson by Chahine. Also all 28 illustrations are rendered hors-texte in two states one being the cancel. 4to. 28.5 by 21.5 cm. 186 pp. Followed by two states of plates. <br/><br/> Calmann-Lévy hardcover books
19393147771939. 8 x 10 inches. Small blemish at upper right colored-in two old mounts on verso otherwise fine. 8 x 10 inches. Inscribed photograph of African-American television theater and film pioneer Ethel Waters 1896-1977 depicting her in one of her most famous roles and inscribed: "To Alice with the same devotion Hagar has for Lissa and you have for Natalie I have for you Ethel Waters." The photograph shows Waters as Hagar in the Broadway production of Mamba's Daughters 1939 a role which was adapted specifically for her by Dorothy and Dubose Hayward from their novel of the same name; it has been cited as the first dramatic starring role for an African-American actress ANB. On June 14 1939 Waters became the first African-American to host a television program when NBC broadcast "The Ethel Waters Show" a one-hour variety program which included a scene from Mamba's Daughters. <br/>The Alice of the inscription is Alice D. Laughlin 1895-1952 muralist engraver and designer who co-founded with designer Natalie Hays Hammond 1904-1985 the Stage Alliance which produced "Six Miracle Plays" directed by and starring Martha Graham at the Guild Theater in 1933. Hammond and Laughlin together with Phyillis Connard constituted a small colony of women artists in Gloucester Massachusetts at the Hammond compound designed by architect Eleanor Raymond. <br/>Ethel Waters first made a name for herself as a blues singer on the club circuit; her stage career began when Irving Berlin cast her in As Thousands Cheer 1933 after hearing her perform "Stormy Weather" at the Cotton Club. In 1949 she became the second African-American to be nominated for an Academy Award Best Supporting Actress for her role in Pinky. WITH: Autograph letter unsigned 6 pp to Natalie Hammond unknown books
1938224905New York 1938. Bust frontal portrait of the singer. Gelatin silver print. 1 vols. 35.3 x 27.5 cm. approximately 14 x 11 inches. Fine. Docketed in pencil on verso giving the name of the sitter the date of the session and a reference to negative and print "XN 27". Matted. Bust frontal portrait of the singer. Gelatin silver print. 1 vols. 35.3 x 27.5 cm. approximately 14 x 11 inches. unknown books
1940219122New York 1940. Bust frontal portrait of the singer. Gelatin silver print. 1 vols. 35.3 x 27.5 cm. approximately 14 x 11 inches. Fine. Docketed in pencil on verso giving the name of the sitter the date of the session and a reference to negative and print "XVII s 8". Bust frontal portrait of the singer. Gelatin silver print. 1 vols. 35.3 x 27.5 cm. approximately 14 x 11 inches. Matted and framed unknown books
1938211857New York 1938. Gelatin silver print half-length frontal. 1 vols. 14 x 11 inches. Fine. Atelier stamped on verso: "Photograph by Carl Van Vechten 146 Central Park West Cannot be reproduced without permission" and docketed by Van Vechten in pencil recording the subject "Ethel Waters" date and identification number "XIV:11. Gelatin silver print half-length frontal. 1 vols. 14 x 11 inches. Large intimate portrait of the great jazz singer and actress gazing soulfully up at the photographer. Taken in the year of her appearance in Carnegie Hall. Reproduced in Mauriber's PORTRAITS 1978. unknown books
19393147771939. 8 x 10 inches. Small blemish at upper right colored-in two old mounts on verso otherwise fine. 8 x 10 inches. Inscribed photograph of African-American television theater and film pioneer Ethel Waters 1896-1977 depicting her in one of her most famous roles and inscribed: "To Alice with the same devotion Hagar has for Lissa and you have for Natalie I have for you Ethel Waters." The photograph shows Waters as Hagar in the Broadway production of Mamba's Daughters 1939 a role which was adapted specifically for her by Dorothy and Dubose Hayward from their novel of the same name; it has been cited as the first dramatic starring role for an African-American actress ANB. On June 14 1939 Waters became the first African-American to host a television program when NBC broadcast "The Ethel Waters Show" a one-hour variety program which included a scene from Mamba's Daughters. <br /> The Alice of the inscription is Alice D. Laughlin 1895-1952 muralist engraver and designer who co-founded with designer Natalie Hays Hammond 1904-1985 the Stage Alliance which produced "Six Miracle Plays" directed by and starring Martha Graham at the Guild Theater in 1933. Hammond and Laughlin together with Phyillis Connard constituted a small colony of women artists in Gloucester Massachusetts at the Hammond compound designed by architect Eleanor Raymond. <br /> Ethel Waters first made a name for herself as a blues singer on the club circuit; her stage career began when Irving Berlin cast her in As Thousands Cheer 1933 after hearing her perform "Stormy Weather" at the Cotton Club. In 1949 she became the second African-American to be nominated for an Academy Award Best Supporting Actress for her role in Pinky. WITH: Autograph letter unsigned 6 pp to Natalie Hammond unknown
26765Paris, La Table Ronde, 18 novembre 1959. In-12, plein maroquin rouge, dos lisse, auteur, titre et date dorés, décor abstrait mosaïqué en box gris, noir et blanc, tête dorée, couvertures et dos. conservés, sous étui (reliure de DEVAUCHELLE).
Paris, La Table Ronde, 18 novembre 1959. In-12, plein maroquin rouge, dos lisse, auteur, titre et date dorés, décor abstrait mosaïqué en box gris, noir et blanc, tête dorée, couvertures et dos. conservés, sous étui (reliure de DEVAUCHELLE). Edition originale tirée à 115 ex. Un des 100 ex numérotés sur Hollande Van Gelder, deuxième papier après 15 ex sur Japon. Bel exemplaire.
1908NL-02426<p><strong>Spectacular 1908 panoramic aerial photograph of Oakland documenting the city's rapid growth after the 1906 San Francisco earthquake.</strong></p><p>This monumental 1908 panoramic aerial photograph of Oakland California taken by R. J. Waters & Co. captures the city in the midst of its early 20th-century expansion. Shot from roughly 1000 feet in elevation the image looks northeast over downtown toward Lake Merritt and the rolling East Bay hills offering a richly detailed view of the city's grid architecture and civic growth. The intersection of 14th and Broadway dominated by the Oakland Tribune building and early department stores anchors the composition while a dense pattern of Victorian homes brick commercial blocks and broad unpaved streets extends toward the horizon.</p><p>R. J. Waters a San Francisco photographer renowned for his panoramic and aerial work produced this image at a time when such high-altitude photography was still experimental—likely achieved from a tethered balloon. The photograph's fine clarity and tonal range exemplify the studio's technical mastery and reflect Oakland's transformation into a modern metropolis in the years following the 1906 San Francisco earthquake.</p><p>By 1908 Oakland had become a key node in the post-earthquake migration and rebuilding of the Bay Area drawing residents and industry displaced from San Francisco. The city's population more than doubled between 1900 and 1910 fueled by transbay rail connections the development of the Key System and new civic projects surrounding Lake Merritt and the waterfront. This view preserves that pivotal moment—when Oakland emerged from San Francisco's shadow to define its own urban identity as the industrial and residential heart of the East Bay poised between Victorian domesticity and modern industrial ambition.</p><p><strong>Census and publication information</strong></p><p>Issued as a sepia-toned gelatin silver panorama the print bears the caption "Oakland California 1000 Ft. Elevation. Copyright 1908 by R. J. Waters & Co. 370 Market St. San Francisco." A number of US institutions hold collections of R. J. Waters' panoramas including the Library of Congress and Bancroft Library in which this photograph is likely to occur. A specific listing of this particular panorama is available in public online image repositories linked to Library of Congress cataloging OCLC no. 456374167.</p><p><strong>Context is Everything</strong></p><p>In the first decade of the twentieth century Oakland was a rapidly growing port and commercial center in the East Bay. The present photograph copyrighted 1908 captures some of this downtown growth as well as the city's integral relationship to Lake Merritt which in 1908 was already an established civic amenity within the urban fabric.</p><p>R. J. Waters was a San Francisco-based commercial and panoramic photographer active in the late 19th and early 20th centuries. His studio produced a range of these panoramic views of Californian cities specializing in aerial panoramas that were used both for commercial display pieces and as documentary records.</p><p>Panoramic photographs like this were typically stitched together from individual images taken from elevated vantage points such as balloons kites or even early aircraft. As such they constitute an essential documentation of American urbanism at the beginning of the 20th century. They were routinely used by municipal city planners rail and shipping interests and photographic studios to advertise a city's size infrastructure and civic landmarks. R. J. Waters' panoramas fit squarely within that commercial/documentary practice and are today considered critical primary sources for reconstructing turn-of-the-century urban form in California.</p><p>Cartographers:</p><p><strong>Raper James R. J. Waters</strong> 1856–1937 was a commercial photographer active in California and Nevada whose studio produced a wide range of documentary and panoramic photographs around the turn of the 20th century. Waters opened a commercial studio in San Francisco in the 1890s and became especially known for panoramic city views and commercial photographic services. His photographs are held in significant collections including those of the Library of Congress the Getty and the Metropolitan Museum among others.</p><p>Aerial photos of urban landscapes were among the most common genres of images that R. J. Waters's studio produced in the late 1910s. These include multiple aerial and panoramic images of cities like San Francisco Oakland Fresno and Sacramento. These prints were often made in large sizes for display and municipal record-keeping and now form a valuable visual record of how California cities looked before the ubiquitous transformations of the mid-20th century.</p><p>Condition Description</p><p>Scattered wear and soiling. Minor spots of loss. Lower right corner chipped.</p> R.J. Waters Company
