Catalog 51 Part Two
c a t a l o g 5 1 - part two
Larry Gottheim 914.423.5806
Explanations & Procedures including New Increment Structure
PROCEDURES
The material is offered at auction. The listed price is the Minimum Bid. This is below, often well below, what comparable material in comparable condition
has sold for by us or by other public venues. Lots that don’t get a bid at this level in the auction will remain available at this price for at least 2 weeks after
the close of the auction.
There are two ways you can bid:
1.
WE ENCOURAGE YOU TO LEAVE BIDS WITH US. You may mail or fax the enclosed bid sheet, or contact us by phone or email. Your bid
must be at an actual bid increment, as explained below. It must be at least at the level of the Minimum Bid listed for each lot in the catalog. Any
left bid at an increment level higher than this Minimum will be a “Maximum Bid” and will only be bid for you at a level necessary to top other
bids actually received by us or bid on eBay Live during the auction. No matter how high your Maximum Bid, you will win the lot at the level of
the Minimum or one increment over other bids actually placed in the auction. All left bids must be received by 11:00 a.m. on March 13 st.
In cases where you have serious interest in major lots we can arrange to have you bid by phone during the auction. Please make these arrangements
well in advance. We cannot accept phone calls during the auction.
2.
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the prompts on any item as listed on the Be-hold.com web site, or on the listings on eBay or LiveAutioneer. Naturally, in order to bid via eBay live you
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auction, but make note of it so that you don’t forget.
WE URGE YOU
After you register, you may leave bids on eBay. If you leave a bid before the auction is live, these bids
will come into play, as appropriate, once that lot is “live” on March 13. If you are registered, you may
TO ATTEND THE PREVIEW
wait until the lot is ‘live’ at the time of the auction, and bid from your computer.
Thursday, March 6th
More information on internet bidding is found on our website, on the eBay listings, and on the
LiveAuctioneer.com site.
2:00 p.m. - 9:00 p.m.
Friday, March 7th
NEW SIMPLIFIED INCREMENT STRUCTURE:
9:00 a.m. - 9:00 p.m.
All bids must be at least at the level of the listed Minimum Bid, and according to the following incre-
Saturday, March 8th
ments.
9:00 a.m. - noon
• Below $200, the increment is $10
• Between $200 and $500, the increment is $20 (for example $320, $340, $360….)
• Between $500 and $1000, the increment is $50 (for example $750, $800, $850…)
Affinia 50 Hotel
• Between $1000 and $10,000 the increment is $100
155 E. 50th Street at 3d Avenue
• $10,000 and above, the increment is $500
212.751.5710
When there is bidding between bids left with us and those being bid on eBay Live, the priority will go
the “floor” bid – the bid we are bidding.
Be sure you are registered and
CONDITION
understand the bidding
We pride ourselves on presenting the condition accurately. The main way we do this is by illustrations
procedures well before the
and scans that are as accurate as we can make them, supplemented by comments in the text. These
start of the auction at
are further supplemented by a number code, as follows:
2:00 p.m. (Eastern)
• Material that was originally very well produced and is still in that condition will be graded
[4]. We use this grade conservatively.
on Thursday, March 13th.
• Material that was a little less fine to begin with, but still has an attractive presence and no
distracting problems will be graded [3]. Tones may be a bit lighter and there might be a
slight bit of soil.
• Typical collectable material with various weaknesses compared to the finest example will be graded [2].
• The grade of [1] is reserved for poor examples that are only offered because of their rarity and inherent interest. There is nothing with this grade
in the current sale.
• When there is actual damage to the print, the condition code will have the prefix “D” as in [D3]. This does not apply to damage to the mount. In
many case the actual presence of the print will be quite fine. The nature of the damage will be indicated in the text and visible in the illustration.
Sometimes a + or – as in [3+] will indicate a more specific position on the condition grade.
INVOICES
A 15% Buyer’s Premium will be added. A reasonable fee for appropriate shipping and handling will also be added, plus NY State Sales Tax where applicable.
Please wait for Invoice and clarity about shipping arrangement before sending payment.
Payment may be made by check or M.O. to “Be-hold, Inc.” in U.S. dollars on a U.S. bank, or via credit card. We accept Major Credit Cards. PayPal only
accepted from overseas bidders, who must add 5%..
Payment must be received by us within 10 days of the receipt of the Invoice.
Material is guaranteed authentic and as described. Any problems must be indicated to us upon receipt of the material.
BE-HOLD | www.be-hold.com
c a t a l o g 5 1 part two
Contents
Photographs on Paper: Lots 69-197
Index inside back cover
eBay Live Auction
The actual auction in eBay Live will commence
Thursday, March 13, 2008
2:00 p.m. Eastern
Preview
Thursday March 6th
2:00 p.m. - 9:00 p.m.
Friday March 7th
9:00 a.m. - 9:00 p.m.
Saturday March 8th
9:00 a.m. - noon
Affinia 50 Hotel
155 E. 50th Street at 3d Avenue
212.751.5710
and by appointment in Yonkers
Front Cover Lot 134
Back Cover Lot 130
ISSN 1075-0363
Larry Gottheim BE-HOLD, Inc
78 Rockland Avenue, Yonkers NY 10705 | www.be-hold.com
Tel 914.423.5806 | Fax 914.423.5802 | E-mail behold@be-hold.com
Lot 69. FRENCH STEREOSCOPIC DAGUERREOTYPE.
Lavish and beautifully colored example of this genre, ca 1850. Vertical buffing
marks visible at an angle. No damage. This arrived too late to include in Part
1, so it forms a transition to this Part 2, the appetizer with which we begin the
auction. [4] $6000
PHOTOGRAPHS ON PAPER
Lot 70. OLD CAPITOL PRISON, BY BRADY.
7” x 9 ¼” albumen print on original board mount, No. 213 of “Incidents of
War” copyright 1862 by Brady. The letterpress title on the mount is “OLD
CAPITOL,” [leaving out “prison.”] A later photograph of the building from
the same angle by Pywell, Plate 90 in Gardner’s “Sketchbook,” shows inter-
esting changes. What is most charming here is the bit of street life shown
in the figures. Rich print. [3+] $1500
Lot 71. LINCOLN’S SECOND INAUGURAL.
6 7/8” x 9 ½” albumen print on a tan board mount. There are several vari-
ants of this subject, usually attributed to Alexander Gardner. This is the
rarest and most desirable one that shows Lincoln actually delivering his
speech. There is an imprint on the back for Clarence Dodge, Photographer,
106 G. Street Southeast, Washington DC. This doesn’t have the charac-
ter of a copy print. Since there were several variants of this event, taken
minutes apart, it is unlikely that Gardner himself could have operated the
camera himself for all these variants. Dodge, a Washington photographer,
might have been the camera operator for this important event, and now
was issuing the image with his own imprint. Lloyd Ostendorf, in “Lincoln
in Photographs” (1998) comments on this photograph that it is “probably”
by Alexander Gardner. “Neither Gardner nor Brady copyrighted any pic-
tures of the inauguration, but this and other views are usually considered
Gardner’s work.” (p. 208.)
The print is slightly light, very
light in the lower left, with
some soil. The lower left
corner of the mount is bro-
ken, but not into the print,
and there is a bend in the
upper right mount corner.
[2] $4500
Lot 72. MRS. LINCOLN & THE GHOST OF A SPIRIT.
The famous spirit photograph by Mumler of Mary Todd Lincoln with the “ghost” image of Lincoln
above her head. Mrs. Lincoln did attend a séance in Boston, where she claimed to have felt her
dead husband place his hands on her shoulders. This was recreated by Mumler. In this example
the ghost figure is hardly visible, though we clearly see the hands on the shoulders. CDV with
mount corners slightly clipped, Mumler’s imprint on the verso. [2] Plus a composite CDV, engrav-
ings of Lincoln and his cabinet. Corners also clipped. [2+] $160
page 4 | BE-HOLD | www.be-hold.com
Lot 73. ARMLESS NAVY VETERAN.
This is Richard D. Dunphy. Born in Ireland, he was a Coal Heaver serving on
board the U.S.S. Hartford in attacks against Fort Morgan and the capture of the
“Tennessee.” CDV with pen inscription on verso, probably in his hand, from “Flag
Ship ‘Hartford’ Mobile Bay Aug 5th ‘64.” No imprint, blue 2 cent Bank Check stamp.
CDV with mount corners clipped. [2+] $260
Lot 74. 37TH ILLINOIS INFANTRY.
CDV endorsed recto, “Yours Respectfully Gallio Furman Capt. 37 Ills Infty… “
Furman was made 1st Lieutenant on 7/20/62, and Captain on 6/25/64. This unit
was called the “Fremont Rifles,” and also “The Illinois Greyhounds” for their rapid
March at Prairie Grove. They fought brilliantly at Pea Ridge, the Siege of Vicksburg,
Morgan’s Bend etc. Furman mustered out in Houston, Texas. No imprint, mount
corners clipped. [2] $160
Lot 75. MAJOR ALEXANDER A. MONROE AND WIFE.
He served in the 12th Ohio Cavalry, then became a Major in the US 122nd Colored
Troops Infantry on 12/08/64. CDV by A. Whissemore, Mansfield Ohio. Pencil inscrip-
tion on verso gives his name and rank, and “Findley Ohio.” Violet 1 cent Express
stamp initialed “A.W.” by the photographer on Nov. 9/ 64 and orange 2 cent
Bankcheck stamp initialed and dated Nov. 14th/64. Curious to see two different dates
on the stamps. Mount corners clipped, light soil. [2] $150
Lot 76. MAJOR GENERAL TRUMAN SEYMOUR, SIGNED.
Rich ¾ profile CDV boldly signed on recto. He was a painter. Commanded at the
battle of Olustee, Florida, and was taken prisoner. Served in Peninsula, Gaines Mills,
2nd Bull Run, Wilderness, Richmond, Petersburg, Appomattox. No imprint. The
albumen print has been mounted on the verso of the CDV mount. [3+] $220
Lot 77. PAINTER WITH HIS PAINTING.
Fine portrait of the painter at his easel with an interesting painting visible. CDV
with no imprint, but period pencil on the verso reads “This is J. L. [?] Andeson [?]
the other side.” Some wear and soil. [2+] $420
Lot 78. CHAMPAGNE SALES CDV.
Unusual CDV of a champagne bottle with a label for Cellier & Co., Reims. The
back is stamped for Siegel’s Extra Dry Champagne, Cor. Warren & Broadway,
New York. There is a pen price list-- $7 per case for Quarts, $8.00 per case for
Pints, and some figuring in pencil. Aside from unusual photographic subject this is
a rare example of a CDV used as an advertising order form. Light wear and soil.
[2+] $240
Lot 79. EARLY SARATOGA BY BEER BROTHERS.
S. Beer and the Beer Brothers were interesting fairly obscure NYC photographers. This is
a rare offering of a collection of their work in Saratoga. There are 18 stereo views and 2
CDV’s. Many of the views show groups of elegant visitors posed at various spots, suggesting
that they had a concession to photograph such groups. The CDV’s have a backmark for their
studio at 34 Wall Street, with a later blue imprint for the New Gallery, at 564 Broadway.
Many of the views have an imprint or small label for their Broadway Gallery. One view has
a large label on the verso, originally for Beer Brothers at 564 Broadway, corrected in pen to
“S. Beer” at 481 Broadway. Some have negative numbers and seem to be the same as views
published by George Stacy. Possibly Beer and Stacy got those views from the same source,
as both also published Saratoga views without those numbers. 12 of the views are rich and
bright [4], the others [3]. $500
page 5 | BE-HOLD | 914.423.5806
PHOTOGRAPHS ON PAPER
Lot 80. W. H. JACKSON & ASSISTANT
LOADING EQUIPMENT ON THEIR BURRO.
The wood boxes are probably for photographic plates. 5” x 7” gold/pale blue stereo view mount
with Hayden Survey and Jackson imprint, with negative number 838, “Packing” in period pen on
verso. Lower mount corners bumped. [3] $90
Lot 81. UTE INDIANS IN FRONT OF GURNSEY’S STUDIO.
Good stereo view of the Indians armed with rifle, pistol, bows. There are photo displays in
the windows. 5” x 7” gold/pale blue mount with label for Gurnsey’s Rocky Mountain Views,
Colorado Springs. Light fading at bottom and sides. Vertical bend in the left view, and crude
pencil design on verso. [D2] $150
Lot 82. FIRE OR STREET VENDING
MACHINE, AKRON OHIO.
There’s a spigot at the bottom left of the
boiler, a pail between the two sections,
something like cups sticking up from the top
of the boiler. At first this seemed to be some
fire apparatus, but I think it could be a machine to prepare something that would be sold. These
guys seem like the inventors. Large 4 3/8” x 7” orange/lavender stereo view with backmark for
Epler, Howard & Co., Photographers, 116 Market Street, Akron, Ohio.” Mount corners worn,
light soil, tiny pinholes at top of mount. [2] $340
Lot 83. ARMLESS CHARLES TRIPP BY EISENMANN.
Cabinet card shows him holding a teacup with his toes. On the floor are
scissors and other tools with which he cuts out stencils. Pen inscription
on the verso dated Sep. 17, ‘89, from Woodstock Ontario. Light foxing.
[3-] $220
Lot 84. BLACK WOMAN WITH LETTER.
Nice portrait posed before a rustic backdrop. Cabinet card by Gates,
Addison N.Y., branch of Forestville Studio, Chicago. Nick at very top.
[D3] $150
Lot 85. KAW INDIAN, BY SCHINDLER.
7 ½” x 5” unmounted albumen print, with negative number “359.”
Portrait of this member of the 1868 Kansa delegation, made in Schindler’s
Washington studio. See Fleming, “Native American Photography at the
Smithsonian,” Plate 132a, where he is named “Pi – Sing” [“Game.”]. This
person, possibly the same image, was published by Jackson as “”Ka-ke-
ga-sha,” #398 in Jackson’s “Descriptive Catalogue of Photographs of
North American Indians.” Slight tear at the very bottom of the print.
[D3] $600
Lot 86. COMMANCHE INDIAN PORTRAITS.
Formal portrait of a Commanche Indian seated in studio, and of a stand-
ing woman in blanket with her baby on her back. 5 ½” x 3 7/8” rich
sepia/brown collodion prints. Probably Oklahoma Terr. The negative
numbers are distinctive. Circa 1895-1900.[3+] $500
page 6 | BE-HOLD | www.be-hold.com
Lot 87. INDIAN PORTRAITS.
5 ¼” x 3 7/8” collodion prints, similar to the previous lot, but in a different stu-
dio. The club carried by the man in feathered headdress is actually a maul used
by women for mashing choke cherries or pounding dried meat [thanks Mike
Cowdrey.] His beaded strap is Ojibway. Many of these artifacts were widely traded,
and so are not original with the tribe. Also a portrait of a seated Commanche or
Kiowa man [this is slightly lighter.] Plus a portrait of an aged Pueblo man with an
interesting face. All are clean without damage. [3], [3+] $750
Lot 88. MAMMOTH PLATE HILLERS, WOLPI PUEBLO.
17 ½” x 22” albumen print on light blue expedition mount. Pen inscription on verso reads “J. [Jack] Hillers of J. W. Powell’s Geological Survey….
Wolpi, Moquis Towers.” 4 Hopi Indians are posed on various levels. There is evidence of repaired tear at the bottom, some light foxing at left
edge. The print has been professionally conserved using archival materials, and has been placed back in its original frame with a gilded inner border
and light tan mat, beneath UV-protected plexiglas. It looks wonderful! [D3+] $4500
Lot 89. CHARLIE WOOD – KOBUK.
Large format gravure by E. S. Curtis, Plate 721, from Volume 22 of “The
North American Indian.” Gravure by Suffolk, Cambridge MA. [3+] $400
Lot 90. HOOPER BAY YOUTH.
Large format gravure by E. S. Curtis, Plate 696 from Volume 22 of “The
North American Indian.” Gravure by Suffolk, Cambridge MA. [3+] $400
View all auctions online at www.be-hold.com.
page 7 | BE-HOLD | 914.423.5806
Lot 91. RAILROAD FERRY “SOLANO”
MAMMOTH PLATE BY CARLETON WATKINS.
15” x 22” albumen print on white board mount. When it was built in 1879
the Solano was the largest such ferry in the world, built to carry the railroad
from Contra Costa across the Carquinez Straits on its way to San Francisco.
Watkins has carefully arranged the picture to take advantage of the symmet-
ric strict verticals and the diagonal lines of the tracks, with the people posed
at various distances. A locomotive is seen at back left, and the rear car of
another train at right. Watkins made a stereo view from the same camera
position, but this monocular view still has a strong stereoscopic feel. This a
fine print with even tones, slight crazing of the surface in spots seen at an
angle. [3+] $8000
Lot 92.
FERRY “SOLANO” WITH WATKINS PHOTO WAGON.
15” x 22” albumen print on a white board mount by Carleton Watkins.
Looking down at the Port Costa station with the ferry at the landing. A loco-
motive pulls a train from the ferry. Peeking out from the behind the wooden
tower behind the first car of the train is the back of the wagon for Watkins’
Yosemite Gallery. This also gives an indication
of Watkins’ working procedure. He carried
the tripod, mammoth camera, stereo camera
and other needs up to this elevation, and then
moved to a position at an oblique angle to
make the next view. This is a very rare image.
Some surface crazing can be seen at an angle.
There is foxing, most visible in the water and
the sky. [D2+] $4500
Lot 93. FERRY “SOLANO”
IN PORT FROM A BLUFF, BY WATKINS.
15 1/8”x 22” albumen print on white board mount. Looking down at the ferry
from the opposite angle as the previous lot. We can see the hill from which
the previous view was made. Smoke rises from the stack of the locomotive
and the ferry. Here the picture is composed around the curving forms made
of posts that form the slip for the ship. The purple-brown tones are the rich-
est of these 3 prints. Especially rich are the tangled white branches of the
foreground bushes. Just slight surface crazing in a few areas. [4-] $8500
Lot 94. SHASTA MINERAL SPRINGS CALIFORNIA.
4 5/8” x 7 ½” sepia silver print on a gray mount. Nice view of the station,
buildings, stairs going up to the spouting spring. A companion same-size
scenic view on same mount has back stamp for John Ollman, Photographer,
Shasta Springs, a rare maker. [4] and [3] $220
View all auctions online at www.be-hold.com.
page 8 | BE-HOLD | www.be-hold.com
Lot 95. BYRD ANTARCTIC EXPEDITION.
Pair of vintage press photographs. One shows expedition member
James Feury watching Commander Byrd plant a flag in the ice dur-
ing the survey operation at Little America. 6 ¾” x 10” gel. silver
print C. 1929 by Paramount Famous Lasky Corporation. Another
shows 4 expedition members on a sled. by NY Times and St.
Louis Post Dispatch, 1930 (I think “1920” is an error.) Both have
the original caption slugs still attached. Wear and soil, with soft
corner bends. Pinholes in mount corners. [D2-] $300
Lot 96.
WW1 AERIAL PHOTOGRAPHS.
Under the direction of Edward Steichen the
U.S. Air Force developed techniques for aerial
reconnaissance in WWI. These are vintage
examples of this work, from 1918 (one 1919.).
There are 6 – 7” x 9 ¾” original prints with
marginal notations of coordinates, locations
and other information, plus a 7” x 8 ¼” print
of a landscape with specific locations given in
the negative. This system of coordinates must
have been part of the process developed by
Steichen for maximum effective use of the pho-
tographs. There is a 6 ½” x 7” “Assemblage of Aerial Photographs from the 111th Corps Air Service, 1st Aero Squadron Demonstration Center
in Germany.” 10- 6 3/8” x 8 ¼” photographs are vintage copy prints of various
scenes including ruined and intact cities, fields with coordinates of positions, etc. Of
the two additional prints it is interesting that one is a nice street view of Mersch,
Luxembourg, with a banner “For our Deliverers,” titled “Luxembourg welcomes
the Americans.” Steichen was born in Luxembourg and his loyalty to his country of
origin was part of his motivation for serving in the war. 20 photographs in all. See
next lot!!! [3] $600
Lot 97. CHATEAU THIERRY,
WW1 RECONNAISSANCE PHOTO BY STEICHEN.
11 5/8” x 15 ¾” brown-toned gelatin silver print on larger sheet. Title imprinted on
bottom margin, red “E.J. Steichen” stamp on verso. This is a larger print for exhibi-
tion of one of the images that is in the previous lot, (that came from an entirely
different source.]The relation of Steichen’s war work to his larger oeuvre needs to
be further investigated. [3] $2800
Lot 98. WWII BOMBING PHOTOGRAPHS.
19 – aerial photographs taken directly from American bombers over European targets as bombs fall. These come from the same source as Lot 78
of Be-hold 50.They are slightly different sizes, from 9 1/8” x 9” to 9 ½” x 10”. 3 are of French locations, 4 of Bucharest, 2 of Vienna, 5 of German
targets including Munich, 2 of Turin,. plus 3 of Yugoslavia. These are direct frame enlargements with locations and coordinates. Rich prints, with tack
holes showing they were hung up in actual use. [D3]. Plus one 10” x 8” portrait of a civilian [edge tears] and a snapshot of crews at Quonset
huts. $600
page 9 | BE-HOLD | 914.423.5806
PHOTOGRAPHS ON PAPER
Lot 99. WWII PRESS
PHOTOGRAPHS BY ART GREEN.
These are vintage gelatin silver prints on large tan
exhibition mounts, Two have labels on the mount
crediting Green, from Acme Newspictures, Inc.
(Green was also known as Russell Green.) A
terrific 9 ¼” x 7 ¼” gelatin silver print ironically
titled “Battle Stations” shows the body of a gun-
ner slumped over his wrecked shipboard station.
A 10 ¼” x 13 3/8” print on textured paper shows
an operation on a badly burned soldier. There are
2 prints of “Tower of Destruction,” Green’s pho-
tograph of the burning of the SS Paul Hamilton,
taken from the USS Menges. One is a 7 3/8” x 9”
ferrotyped print, the other a 10 ¼” x 13 ½” print
on textured paper that is higher quality. This
image was published in TIME magazine in
May 1944. 2 additional large 13 ¼” x 10 ½”
prints on textured paper show sailors com-
ing down from a ship to shore. These are all
at least [3] with no damage. $600
Lot 100. “TOPPING-OFF GAS TANK ON PATROL PLANE
– ATTU” BY HORACE BRISTOL.
10 3/8” x 10 3/8” vintage toned gelatin silver print, 1945, signed by Bristol on the verso. Beautiful
print. [4] $2200
Lot 101. APOLLO 15 NASA PHOTOGRAPHS.
Group of 15 related to the 1971 moon mission. 7” x 9 7/8”
color photograph of James Irwin saluting beside flag on the
moon, signed by Dave Scott, Al Worden and Jim Irwin on the
mat below. Some scuffs, 2 mount corners bent [D3+]. 3 – 8” x
10” original photographs of the 3 astronauts leaving the building
to enter the vehicle that will take them to the capsule. [3] 9
– 8”x 10” original photographs with NASA stamp and number
in the margin, views of the moon and the launch. A few minor
bends. [3], [3-]. And a large publicity photograph of Worden.
Provinance: gift of Worden to a friend. $1000
Lot 102. “FLYING SPINNAKERS”
BY MORRIS ROSENFELD.
13” x 10” blue-toned gelatin silver print on tan board
mount. No date or signature. A beautiful print of this strik-
ing photograph. The Mystic Seaport Museum, that has a
large holding of Rosenfeld’s photographs, does not have any
blue prints like this, but this appears as though it were made
from the negative. [4] $500
View all auctions online at www.be-hold.com.
page 10 | BE-HOLD | www.be-hold.com
Lot 103. 1965 NEW YORK YANKEES, SIGNED.
16” x 20” color photograph of the players and staff posed in Yankee Stadium,
most of the figures with signatures. This hung in a bar in Queens frequented by the
team members, who signed it as they came in. The signatures are: BACK ROW: Al
Downing, Pete Mickelson, Roger Maris, …. Murray, unsigned, Steve Hamilton, Ross
Moschitto, Doc Edwards, Phil Linz, unsigned, Hector Lopez. SECOND ROW: Joe
Soares [trainer], Clete Boyer, unsigned, Jack Cullen, Mel Stottlemyre, Elton Howard,
Jake Gibbs, unsigned, Ray Barker [?], Don Segar, man in suit. THIRD ROW: Whitey
Ford, Bobby Richardson, unsigned, Vern Benson [coach], Jim Hegan [coach], Tony
…., Frank Crosetti [coach], Cot Deal [coach], Jim Bouton, Mickey Mantle, L…. .
Tony Kubek. IN FRONT: BAT BOYS: unsigned and Daniel Noel. Stains on lower
part, scuff in bottom margin that grazes the image. [D2] $1000
Lot 104.
PHOTOGRAPHS OF HARPSICHORDIST WANDA LANDOWSKA.
Landowska, born in Poland in 1879, was a major artist who popularized the harpsichord (she used a larger instrument than was later to become more
standard) and scholar of early music. Her presentations of Bach’s “Goldberg Variations” (she made the first recording) were extremely influential.
Before WWII she lived and taught in Paris, and frequented the lesbian-oriented artistic salon of Natalie Clifford Barney. During the Nazi period she
emigrated to the US where she widely performed and taught, until her death in 1959. This is a private collection of material belonging to one of her
protégés, with several endorsed to “Kati” in the 1950’s (one by Denise Restout, Landowska’s disciple and companion.).There are 9 photographs of W.L.
at her instrument (2 with damage). 3 other portraits, 7 personal snapshots and a small album with 15 snapshots, most in color. In addition there are
7 early postcards from
France and Russia with
photographic images,
drawings and a silhou-
ette. Aside from the
few damaged ones,
most are [3] to [4-].
In addition, the col-
lection also contains
5 photographs of pia-
nists. 3 are of Felicia
Blumenthal, another
Polish émigré who was
in the circle of W.L. in
New York. She died in
1991. These are from the 1980’s. One, by Bruno of Hollywood, has an elaborate endorsement, plus
one of her daughter with Arthur Rubenstein. Final portrait is of Josef and Rosina Lhevinne. The entire
collection - $1000.
Lot 105. THE CAKE WALK
Framed display of 10 sequential photo postcards,
with applied blue coloring, by “S.I.P.” The steps
of the dance are illustrated by the “Elke” team of
the Nouveau Cirque….. This dance originated in
American black slave society, mocking the manners
of their European masters. It was then taken up
by Europeans themselves, as here, in these French
postcards with imprinted technical explanations of
the moves. In this group, someone has added pen
inscriptions in Portuguese [from Brazil?] bringing out
the elements of erotic courtship. Hope you can do
a little dance in your head thinking about the cross-
cultural, social, sexual and photographic elements
at play here. There is some soil and handling of the
cards, and the final one has some emulsion scraped
off. [2+], [D2+] $1000
page 11 | BE-HOLD | 914.423.5806
PHOTOGRAPHS ON PAPER
Lot 106. JAPANESE THEATER
ALBUM, PRE WWII.
86 photographs lightly tipped on the pages, usually 5
½” x 3 ½”, 2 to a page, but some horizontal formats
one to a page. 3 are signed in ink. Possibly all are
associated with the same theater company. Many
interesting images. Most are rich and clear with no
damage. Hope the scans give a general idea—all are
interesting. [3] $360
Lot 107. IN A MINER’S COSTUME, by Mayer & Pierson.
11 3/8” x 8 ¾” salted paper print from a wet-collodion negative, 1857.
A costume ball was organized in Bruxelles by the Duke of Brabant, and
the printer Cannelle published a souvenir album [of engravings?] This
and the next lot are unique photograph proofs found in the printer’s
archive. This is M. de Sébille with a miner’s light on top of his hat, but
surely too much finery for working in a mine. Pinhole and bend upper
left corner. [D3-] $1800
Lot 108. 18TH CENTURY BELGIAN NOBLEMAN,
by Mayer & Pierson.
10 ¾” x 8 ¾” salted paper print from a wet-collodion negative, 1857,
by Mayer & Pierson. A second unique photograph from the archive of
the printer Cannelle. Here the Earl d’Aspremont de Lynden appears
in the costume of an 18th century nobleman. Lower corners are torn,
some minor stains. [D3] $1800
Lot 109. SCENE IN ALGERIA by Felix-Jacques-A Moulin.
9” x 6 ½” albumen print, ca. late 1850’s, on original mount with Moulin’s embossed monogram in the upper
left corner, nice label on verso for “Bureau Arabe de Mascara.” 2 French soldiers, 2 Arabs. Something is being
signed. [4-] $900
Lot 110. COWS,
MEN IN PASTURE, TREES.
8 5/8” x 11” albumen print by Adolph Braun,
ca. 1860. Lovely image. Tiny nick, slight dis-
coloration and brief tears at very edge. [D2]
$2000
Lot 111. “MARQUIS” AN IMPERIAL HORSE.
6 7/8” x 8 ½” albumen print, 1860’s, on original mount with fine
hand-inscribed pen title on bottom of the mount. Red oval stamp on
verso for “Atelier E. Grammont..” [3+] $360
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Lot 112. WOMAN IN MIRROR, BY PAUL BURTY HAVILAND.
6 ½” x 4” platinum print with red monogram in upper right, tipped onto original brown sheet.
Vintage ca. 1910. [4] $1800
Lot 113. NUDE BY KARL STRUSS.
8 7/8” x 6 3/8” vintage platinum print on tissue, signed on print in pencil, ca. 1911. “C” in the
negative. Tipped onto large mount with Struss’s Estate stamp on verso, and “#23.” Number “49”
label on mount, recto, from some exhibition. [4-] $1800
Lot 114. NUDE WITH FAN BY KARL STRUSS.
9 ½” x 7 ½” vintage platinum print on tissue, signed on print (lightly) in pencil, ca. 1911. “C” in
the negative. Tipped onto large mount with Struss’s Estate stamp on verso, and “#31.” Number
“46” label on mount, recto, from some exhibition. [4] $2200
Lot 115. NEW YORK CITY STREET SCENE, WILLIAM GORDON SHIELDS.
9” x 10 ¼” matte toned gelatin silver print, vintage ca. 1912. No imprint, but from the Estate.
A lovely pictorialist picture composed in 3 horizontal areas. Minute bend in lower right corner.
[3+] $360
Lot 116. SUMMIT OF MOUNT FUJI, BY ARNOLD GENTHE.
6 ¼” x 9 7/16” matte toned gelatin silver print, ca. 1907-08, signed by Genthe in lower left. Ex. Mr.
and Mrs. William E. Neumeyer collection. Exhibited at 1975 Genthe Exhibition at the Staten Island
Museum. [4] $900
Lot 117. IDAHO LANDSCAPE BY DOROTHEA LANGE.
10” x 12 ¾” gelatin silver print, vintage 1939. F.S.A. stamp on verso cred-
its Lange. Pen inscription on verso: “Priest River Valley, Bonner County,
Idaho, where new settlers grow hay between the stumps – October 1939.”
Minor handling crease. [3-] $6700
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PHOTOGRAPHS ON PAPER
Lot 118. CALIFORNIA LANDSCAPE BY SONYA NOSKOWIAK.
7 3/8” x 9 3/8” gelatin silver print on a large original mount, signed on the mount. 1950’s.
[4] $2400
Lot 119.
“SAN FRANCISCO”
BY EDWARD
WESTON.
7 3/8” x 9 ¼” gelatin sil-
ver print, 1925, printed 1955
under his supervision by Brett
Weston. This is No. 6 of an
edition of 8 “Project” prints, that seldom appear on the market. [4] $7000
Lot 120. DOGWOOD BY ANSEL ADAMS.
9 3/8” x 6 ½” gelatin silver print, 1938, printed 1978 under his supervision by Alan Ross,
boldly inscribed on verso in 1978 to Ross’s wife. Lovely rich print. [4] $3500
Lot 121. “BUDDHIST GRAVE
MARKERS AND RAINBOW, MAUI,
HAWAII” BY ANSEL ADAMS.
10 3/8” x 13 ¼” gelatin silver print, 1956,
printed 1974. Signed in pencil on the mount
recto. Beautiful print of a rare Adams subject.
[4] $7000
Lot 122. “WAIKIKI” BY HENRY WESSEL, JR.
9 7/8” x 15” image on 14” x 17 7/8” sheet, vintage gelatin silver signed, dated 1975 and titled in
pencil on verso. [4] $1500
Lot 123. BRITTANY SCENE
BY ALBERT RENGER-PATZSCH.
9” x 6 5/8” gelatin silver print, vintage 1930’s. “Phot. Albert
Renger Essen/Ruhr, Goethestr. 41” stamp on verso, and
pencil inscription “Häuser am Meer Roscoff Bretagne.” Agfa
Brovica paper. [4-] $3400
Lot 124. RUHR INDUSTRIAL SCENE
BY ELSE THALEMANN.
6 7/8” x 8 5/8” vintage gelatin silver print, 1920’s or 1930’s.
Slip attached verso credits Thalemann, and gives number “171.”
She was an interesting photographer, known for her 1920’s
photographs of the Eiffel Tower. The rigid composition of the
entrance to this glass factory provides a frame for the fascinat-
ing ghostly figures. [4-] $1000
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Lot 125. “BOCSKAY TERRACE
BUDAPEST” BY ANDRÉ KERTESZ.
8” x 9 7/8” gelatin silver print, signed in pencil on
verso. 1914, printed later. [4-] $2500
Lot 126. “TRANSPORT”
BY ANDRÉ KERTESZ.
8” x 9 7/8” gelatin silver print, signed in pencil on
verso. 1918, printed later. Plate 87, “Hungarian
Memories.” [4-] $2200
Lot 127. PARIS CORNER,
BY ANDRÉ KERTESZ.
9 5/8” x 5” image on 10” x 8” sheet. Signed in pencil
on verso, titled “Paris” and dated Nov. 2 – 80 “No. 8.” [4] $3500
Lot 128. CECIL BEATON’S BEDROOM, BY ANDRÉ KERTESZ.
Vintage 10 3/8” x 13 ¼” gelatin silver print, ferrotyped, Kertesz stamp on verso, and other mea-
surements and notations, publication date 10/15/49. Interesting careful composition with vertical
bedposts, reflection. [4-] $1500
Lot 129. INTERIOR OF CECIL BEATON’S HOME BY ANDRÉ KERTESZ.
Vintage 13 3/8” x 10 5/8” gelatin silver print, ferrotyped. Kertesz stamp on verso, other measurements
and notations, publication date 10/15/49. A careful composition, with a view into the next room. [4-]
$1500
Lot 130. FASHION STUDY BY DR. M. E. AGHA.
14” x 11” gelatin silver print, 1930’s. Agha was an innovative influential fashion director for Vogue,
House & Garden, Vanity Fair, and a fine photographer. This uses brilliant lighting and composition to
contrast the dark woman and the
white-gowned one. [4] $800
Lot 131. ADVERTISEMENT FOR MEN’S SUIT
BY GORDON COSTER.
13 ¼” x 9 ½” gelatin silver print, 1930’S. Coster’s stamp on verso. This was for
Weber & Heilbruner. [4] $700
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PHOTOGRAPHS ON PAPER
Lot 132. FASHION STUDY BY HORST P. HORST, 1947.
Vintage 13 ¾” x 10 7/8” gelatin silver print with Horst’s Vogue Studio stamp on verso, and Conde
Nasts stamp with sitting date Dec. 5, 1947. [4-] $2500
Lot 133. “’I LIKE HER!’ NEW YORK 1964”
BY SUSAN SCHIFF FALUDI.
Vintage 13 ¾” x 11” gelatin silver print signed and
titled in pencil verso. The young woman with plaid skirt
matching her luggage is none other than Martha Stewart
at the start of her modeling career! [3+] $1100
Lot 134. MARY JO SEYMORE
BY MIKE DISFARMER.
5 ½” x 3 3/8” gelatin silver print, vintage, early 1940’s.
Her name is written in pen on verso. Quintessential
image of the G.I.’s sweetheart, patriotic, innocent, softly
erotic. She wears a ring and sports her man’s insignia as well as his hat. One
of the most charming and emblematic of Disfarmer’s portraits. Slight wear
to edges. [3] $10000
Lot 135. CORN TRUCK DRIVER
BY MARJORIE COLLINS.
13 ½” x 11 ¼” vintage gelatin silver print on heavy
paper, early 1940’s. F.S.A. stamp on verso, and pencil
notation: “This driver has just brought in a load of corn
to the District Grocery Story, Washington D.C.” Slight
wear to edges and corners. [3+] $700
Lot 136. FORMER
COWBOY BY RUSSELL LEE.
8 3/4” x 5 ¼” brown gelatin silver print,
vintage 1939. F.S.A. stamp on verso, and
type caption: “Former cowboy how [for
“now”] traveling around the country.
He is supported by a private income,
Weslaco, Texas. Feb. 1939.” Slight signs
of handling at edges. [4-] $900
Lot 137. WORKER, PUERTO RICO, BY JACK DELANO.
13 1/8” x 10 3/8” toned gelatin silver print on heavy paper, vintage 1941. F.S.A. stamp on verso. Slight
bends on corners. [3+] $1800
Lot 138.
PORTRAIT OF A WORKMAN, ARTHUR ROTHSTEIN.
14” x 11” gelatin silver print, 1970’s. Rothstein’s name stamp and number “17”
on verso. [4] $700
Lot 139.
PORTRAIT OF A WORKMAN, ARTHUR ROTHSTEIN.
14” x 11” gelatin silver print, 1970’s. Rothstein’s name stamp and number “19”
on verso. [4] $700
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Lot 140. PORTRAIT OF AN INDIAN, ARTHUR ROTHSTEIN.
14” x 11” gelatin silver print, 1970’s. Rothstein’s name stamp and number “27” on verso.
[4] $700
Lot 141. PORTRAIT OF A BLACK WORKER WITH PIPE,
ARTHUR ROTHSTEIN.
14” x 11” gelatin silver print, 1970’s. Rothstein’s name stamp and number “14” on verso.
[4] $700
Lot 142. “PHIL” BY RICHARD MISRACH.
Vintage ca. 1972 gelatin silver print on 12 1/4” x 10 3/4” paper, signed and dated in pencil
on verso. A very rare print from Misrach’s first exhibition series, “Telegraph 3:00 a.m.”
[4] $5000
Lot 143.
“ZEN”
BY RICHARD MISRACH.
Vintage ca. 1973 gelatin silver print
on 11” x 11” paper, signed and
dated in pencil on verso. A very
rare print from Misrach’s first exhi-
bition series, “Telegraph 3:00 a.m.”
[4] $5000
Lot 144. CARD PLAYERS MISSISSIPPI,
MARION POST [WOLCOTT.]
5 5/7” x 7 ¼” vintage gelatin silver print, 1939, F.S.A.
stamp on verso. Type caption: “Playing cards in
front of drug store in center of town, in Mississippi
Delta…. “ Soft vertical bend. [3] $ 1200
Lot 145. GOLD MINING
YELLOWKNIFE CANADA
GORDON PARKS.
Vintage gelatin silver print on 9 1/8” x 11 1/8” paper,
wide white margin at left with holes for insertion in
an album, “28948” in pencil on verso. Photocopy of card entry [possibly from the Standard Oil Project?]
for this number shows this is a Parks photograph of “Yellowknife, Northwest Territories. Sept. ‘45.
Negus Gold Mines.” This is the assistant manager signaling for a lift. [3+] $900
Lot 146. “UNION BAR” MARGARET-BOURKE WHITE.
8” x 10” gelatin silver print with “A Margaret Bourke-White Photograph” stamp on verso.
Published in LIFE magazine, Nov. 23, 1936 (the first issue!) Background includes an FDR poster
and a moose. Printed 1950’s. [4-] $600
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Lot 147.
SELMA ALABAMA
STATE POLICE, DANNY LYON.
13” x 11” vintage gelatin silver print, 1963.
Signed by Lyon from Selma in pencil on
verso. Printer stamp for Bleak Beauty
indicates 1963 picture date and print date.
Magnum photo library stamp and various
notations on verso. Policeman brings black
man to police car. Some wear to corners,
otherwise [4-] $2000
Lot 148. EGYPTIAN
SOLDIERS SURRENDER,
SUEZ CANAL OCT. 1973
MISHA BAR-AM.
Vintage print on 11” x 14” paper, signed in
pen in English and Hebrew on recto. The
canal embankment in back. [4-] $800
Lot 149.
BOY IN BEGGARS ASSEMBLY
CALCUTTA FRANK HORVAT.
Gelatin silver print on 15 7/8” x 11 7/8 paper, 1962.
Printed later. Signed in ink on recto. [4] $2000
Lot 150. HONG KONG, CROWDED
HOUSES ON HILLSIDE BY BURT GLINN.
11 5/8” x 7 7/8” gelatin silver print, 1964, printed later.
Glinn’s Magnum stamp and other notations and stamps on
verso. [4] $300
Lot 151. RABBI BARUCH RABINOWITZ
IN DISCUSSION WITH HIS STUDENTS,
MUKACHEVA, By Roman Vishniac.
11” x 14” gelatin silver print signed in pen on
the margin. Ca. 1935 – 38, printed later. There
are several variants of this picture. Mukacheva
is the capital of Carpathian Ruthenia. [4]
$1800
Lot 152.
”CHESS PLAYERS” BY ALEXANDER RODCHENKO.
9 ¼” x 11 ¼” vintage gelatin silver print, title in blue crayon in Russian
on verso, plus measurement and “p. 125.” Slight surface marks from
handling. [3] $6750
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Lot 153.
“SPRUCE TREES, PUSHKIN PARK”
BY ALEXANDER RODCHENKO.
9 ¼” x 11 ¼” gelatin silver print, 1927, printed
1989. No. 48 of 50 in the authorized edition
“Arkana, Göttingen.” [4] $900
Lot 154.
“MAN IN HOT AIR BALLOON”
BY ALEXANDER RODCHENKO.
[Also called “Red Army on Maneuvre.”] 11 7/8”
x 9 ¼” gelatin silver print, 1925 -1927, printed
1989. No. 18 of 50 in the authorized edition
“Arkana, Göttingen.” [4] $900
Lot 155.
“PIONEER” BY ALEXANDER RODCHENKO.
11 7/8” x 9 1/4” gelatin silver print, 1930, printed 1989. No. 48 of 50 in the
authorized edition “Arkana, Göttingen. [4-] $900
Lot 156. “BUDAPEST GHETTO” BY YEVGENI KHALDEY.
12” x 16” gelatin silver print, 1945, printed later c. 1950’s. Titled on verso in
Russian in pencil, dated and signed on verso. There’s a slight impression on
recto. [3] $1600
Lot 157. “CHANGING THE NAME OF ADOLF
HITLER STREET” BY DMITRI BALTERMANTS.
11” x 8” vintage gelatin silver print, 1945. His name stamp, plus studio
stamp indicating that this was in his studio at the time of his death, title
in Russian on verso. [4] $1200
Lot 158. “WITHOUT TITLE”
BY DMITRI BALTERMANTS.
15 7/8” x 11 7/8” gelatin silver print, period print, 1950’s, Baltermants
name stamp plus title in Russian on verso. Manikin’s legs look mighty
“real.” Grainy. [4-] $2000
Lot 159.
“ANNUNCIACIÓN” BY ANTONIO REYNOSO.
16” x 20” gelatin silver print, ca. 1950, printed later. Reynoso studied
with Alvarez Bravo 1936 – 1940, and remained a close friend. Bravo
included him in pioneering exhibitions of new Mexican photography
at the Philadelphia Museum of Art (1943), the Museum of Modern
Art and the San Francisco Museum of Art (1944), and his photographs
are in their and other collections. He was included in a show of
“Contemporary Photography in Mexico” at the Center for Creative
Photography in 1978. He had a distinguished career as a Director and
Director of Photography for several films, including the “Olimpiada
1968.” This print has his purple stamp on the verso, and is signed by his
daughter Regina. (Most of his extant photographs were in his estate at
the time of his death.) [4] $2500
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Lot 160.
“MUJER AMAMANTANDO” BY ANTONIO REYNOSO.
11” x 14” vintage 1975 gelatin silver print. Estate blind stamp and his purple
stamp on verso. [4] $2000
Lot 161. “BOLIVIA LA VACA” BY ANTONIO REYNOSO.
5 ¾” x 8 ¾” vintage gelatin silver print, 1970, on large white mount, signed
and dated in pencil on the mount recto. Signed Reynoso photographs are very
scarce. [4] $3000
Lot 162. “CHALK DRAWING ON PAVEMENT”
BY W. EUGENE SMITH.
13 ½” x 10 3/8” vintage gelatin silver
print, 1955. From his “Pittsburgh Series.”
On a large mount with Estate stamp on
verso, and various printed and written
information. This is an Exhibition print.
Although this was a subject found on
a Pittsburgh pavement, those expecting
more conventionally documentary sub-
ject matter from Smith will be surprised,
but this has, to me, an interesting char-
acter that prefigures some much later
photography. It’s a portrait. Was Smith
a master of blacks, or what? Very minor
small shallow scratch. [4-] $1500
Lot 163. ENTERTAINER
AT SAMMY’S BOWERY
FOLLIES BY WEEGEE.
11” x 13 ½” vintage gelatin silver print,
1940’s. “Please Credit Weegee from
Photo Representatives” stamp on verso.
Signs of handling at edges. [3] $3000
Lot 164.
JAMES DEAN IN “GIANT”
BY SANFORD H. ROTH.
13 7/8” x10 7/8” gelatin silver print, vin-
tage 1955. Roth’s credit stamp, Rapho
agency stamp and other notations on
verso. Typed description taped to verso.
Corners are worn. [3] $1400
Lot 165. “ROETHKE IN ALLEY”
BY IMOGEN CUNNINGHAM.
10” x 8” vintage gelatin silver print, 1959, with Cunningham’s Green St. stamp
on verso, slip with typed caption affixed to bottom. Theodore Roethke was an
influential poet-in-residence at the U. of Washington. Posed against many ele-
ments of the wall behind. Slight wear to corners. [3+] $1400
Preview
Thursday March 6th, 2:00 p.m. - 9:00 p.m.
Friday March 7th 9:00 a.m. - 9:00 p.m.
Saturday March 8th 9:00 a.m. - noon
Affinia 50 Hotel, 155 E. 50th Street at 3d Avenue, NYC, 212.751.5710
and by appointment in Yonkers
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PHOTOGRAPHS ON PAPER
Lot 166. “SOUTHERN
CHARM, ALABAMA”
BY ELLIOTT ERWITT.
8” x 10” gelatin silver print,
1955, printed later. Signed in
pencil on verso, No. 90 from an
edition of 100. [4] $1200
Lot 167. NORTHERN CALIFORNIA BY JACK WELPOTT.
11” x 14” gelatin silver print, vintage 1979. Signed and dated in pencil on margin,
recto. [4] $900
Lot 168. “UNTITLED” BY RALPH EUGENE MEATYARD.
7” x 6 3/8” gelatin silver print, vintage ca. 1960, signed in ink by Madelyn Meatyard
on verso. [4] $1750
Lot 169.
“CORNFIELD AND FARMHOUSES, LANCASTER PA, 1966”
BY GEORGE TICE.
10 ½” x 13” toned gelatin silver print, printed 1980. Signed on the mount recto. This print
was donated by the artist to an auction at the University of California Berkeley. [4] $2000
Lot 170.
STILL LIFE WITH WEDDING PHOTOGRAPH BY EDMUND TESKE.
6 3/8” x 9 ½” gelatin silver print on large mount, signed on the mount recto. I don’t know
the dates. [4] $1500
Lot 171.
TRAPEZE ARTISTS, BY HAROLD EDGERTON.
8” x 10” gelatin silver print. No date, but Edgerton’s M.I.T. stamp on verso, so probably
vintage. [4-] $900
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Lot 172. WORLD OF AMERICAN PHOTOGRAPHY BASEBALL CARDS.
81 of the set of cards made in 1975 by Mike Mandel for Topps Chewing Gum. A great survey of the pho-
tographic scene, major photographers as well as those less well known today, critics and others. Each has
a photograph of the individual as a baseball player, with statistics including Favorite Camera, Film, Paper,
Developer and favorite photographer, plus a quotation. The answers are sometimes revealing, sometimes
witty. Most of the major figures are here, such as Ansel Adams, Harry Callahan, Van Deren Coke, Lee
Witkin, Arthur Siegel, Minor White….. [4] $800
Lot 173. “RUTH BERNHARD IN HER STUDIO,”
BY JOAN MURRAY.
10” x 7 7/8” gelatin silver print, vintage 1969, stamped and signed on
verso. Murray is well known as a premiere collector of daguerreotypes,
but many are not aware of her work as photographer, editor and writer,
teacher. She studied with Wynn Bullock. She was the Photography edi-
tor of “Artweek,” Associate Editor of “American Photographer” and
West Coast columnist for “Popular Photography.” [4] $500
Lot 174. “ANSEL ADAMS & IMOGEN CUNNINGHAM
AWARDING JERRY UELSMANN the title of
Honorary West Coast Photographer at Weston Beach,
Point Lobos 1969” by Ted Orland.
6 3/8” x 5” vintage gelatin silver print on board mount, initialed in pen
on recto and verso. Imprinted back for “Scenes of Wonder & Curiosity
in California.”[4] $600
Lot 175.“BEAUMONT NEWHALL & ANSEL ADAMS - 1942
(Leaping Around in Barbara Morgan’s Studio - Scarsdale New York.)”
8” x 10” gelatin silver print, printed later. Signed and titled by Morgan on verso, with her copyright
and credit stamp. [4] $400
Lot 176.
“CITY SHELL” BY BARBARA MORGAN.
19 ½” x 15 ½” gelatin silver print, 1938, printed
1983. Signed on margin recto, titled and signed verso.
Purchased by consignor in 1985, The Catskill Center
for Photography at Woodstock, (Morgan was on the
Advisory Board.) [4] $1000
Lot 177. “PURE ENERGY & NEUROTIC
MAN” BY BARBARA MORGAN.
18 ½” x 15” gelatin silver print, 1940, printed 1989.
Signed in margin recto, titled signed and dated verso.
[4] $3400
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PHOTOGRAPHS ON PAPER
Lot 178. “‘THE WITNESSES’ SOLARIZED PICTURE” BY VAN DEREN COKE.
8” x 10” gelatin silver print, vintage 1980, initialed and dated in margin recto, and “Happy Birthday.” Typed
label affixed to verso. Some indications of handling. [3] $1500
Lot 179. RIO DE JANEIRO, COUPLE DANCING, BY FRANK HORVAT.
On 11 ¾” x 15 7/8” sheet, signed in margin, recto, 1963. Vintage? Beautiful. [4] $700
Lot 180. “NUDE IN A MIRROR PRAGUE 1981” BY MARC RIBAUD.
Gelatin silver print on 20” x 14 ¼” sheet, signed and titled in pencil on verso. Vintage? Beautiful. [4]
$1200
Lot 181. KODAK ADVERTISEMENT
BY RALPH BARTHOLEMEW, JR.
9 ½” x 11 ½” image on 15” x 12 ½” paper, signed recto, vintage gelatin silver
print, 1948. Archetypal image of the post WWII American family according to
Kodak. [3+] $1200
Lot 182. GIRL IN BED BY DAVID HAMILTON.
11 7/8” x 16” gelatin silver print, signed recto and dated 1971. [4] $900
Lot 183. TEENAGERS BY LEAH MISSBACH.
16” x 20” gelatin silver print, 1988, signed in pencil on verso, No. 1 of an
edition of 6. Interesting composition; “Teenage Lust” a few generations later.
[4] $600
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Lot 184. “DEATH VALLEY”
BY EDWARD WESTON.
8” x 10” Ektachrome transparency, Ca. 1937, in original viewing folder with
title and signature imprinted on the folder. Kodak distributed the film to some
photographers when they were first producing the Ektachrome process. Some
age discoloration. This is the first of a group of color photographs that closes
the sale. [3] $2000
Lot 185. POLE VAULTER
BY HAROLD EDGERTON.
15 7/8” x 12 7/8” dye transfer print, signed in pencil on verso. No.11 from an
edition of 60. No date. [4] $1200
Lot 186. CHICAGO
BY HARRY CALLAHAN.
11” x 13 7/8” dye transfer print, signed by Callahan in pencil on margin.
1950, printed 1980. [4] $3000
Lot 187. PROVIDENCE BY HARRY CALLAHAN.
11” x 13 7/8” dye transfer print, signed by Callahan in pencil on margin.
1962, printed 1980. [4] $3000
Lot 188. NEW YORK BY HARRY CALLAHAN.
11” x 13 7/8” dye transfer print, signed by Callahan in pencil on margin.
1977, printed 1980. [4] $3000
Preview
Thursday March 6th, 2:00 p.m. - 9:00 p.m.
Friday March 7th 9:00 a.m. - 9:00 p.m.
Saturday March 8th 9:00 a.m. - noon
Affinia 50 Hotel, 155 E. 50th Street at 3d Avenue, NYC, 212.751.5710
and by appointment in Yonkers
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PHOTOGRAPHS ON PAPER
Lot 189. ATLANTA BY HARRY CALLAHAN.
11” x 13 7/8” dye transfer print, signed by Callahan in pencil on margin,
1977, printed 1980. [4] $3000
Lot 190. “PARIS MARKET” BY JOEL MEYEROWITZ.
16” x 20” dye transfer print, signed by Meyerowtitz in pen on margin.
1967, printed 1980. No. 12 of an edition of 97. Another notation in
margin “11/25 – 21*”. [4] $3500
Lot 191. LUANN, BY PHILLIPE HALSMAN.
Very large 32 ¾” x 24 ¾” color print, signed on the print in black
pen by Halsman, and marked 1/100. Despite that indication of an
edition of 100, no such edition ever appeared, and this is likely
a unique experimental print in this large format, possibly for an
exhibition. A copy of this image appeared on the cover of a 1974
publication by French Kodak. Luann was a model who appeared
in several of Halsman’s photographs. Probably print date c. 1967.
(Thanks to Halsman family for some helpful information.) Some
impressions near the edges from the mat, otherwise [4] $3500
Lot 192. SUPERIMPOSED FACE OF A WOMAN
BY PHILIPPE HALSMAN.
Very large 35 ½” x 26 ½” color print, signed on the print in white
pen by Halsman and marked 1/100. As with the previous lot, no
such edition ever appeared, and this is likely a unique print made
for some exhibition. In 1968 Halsman was working on a photo-
graph of the Maharishi that was superimposed in this manner, and possibly this
was an experimental photograph using that technique, so probable print date is
1967. (Thanks to Halsman family for some helpful information.) [4] $2500
Lot 193. “JOAN OF ARC MONUMENT NYC”
BY MITCH EPSTEIN.
16” x 20” vintage chromogenic print, signed titled dated 1978. Print #40. [4]
$2000
page 25 | BE-HOLD | 914.423.5806
PHOTOGRAPHS ON PAPER
Lot 194. “WOMEN” BY JOHN PFAHL.
11” X 13 7/8” vintage chromogenic print, no date, signed by Pfahl on verso,
No. 40 from an edition of 50. Bizarre juxtaposition of modern necessity of
civilization with an ancient ruin. Slight color shift, otherwise perfect. [3]
$1600
Lot 195. ‘SEASCAPE” BY FRANCO FONTANA.
22 ½” x 19” dye transfer, signed in the marge. No date, No. 4 in an edition of 15. [4] $1200
Lot 196.
“UNSEEN VERSAILLES JANUARY 1980”
BY DEBORAH TURBEVILLE.
14” x 17” vintage chromogenic print, titled and signed on margin.
[4] $1750
Lot 197. “SUMO” BY HELMUT NEWTON, MONTE CARLO, 1999.
Fabulously produced book, the largest ever commercially produced, with brilliant large-scale repro-
ductions of Newton’s photographs. This is #5332 of 10000 signed by Newton. Too large and heavy
to be a “coffee table” book, this comes with its own metal stand. Slight scuffs on edges and impres-
sions on the dust jacket. Cover and contacts perfect. [4] If you can’t arrange for pickup, be prepared
for appropriate shipping charge. This is the dessert with which we conclude this auction.
Preview
Thursday March 6th, 2:00 p.m. - 9:00 p.m.
Friday March 7th 9:00 a.m. - 9:00 p.m.
Saturday March 8th 9:00 a.m. - noon
Affinia 50 Hotel, 155 E. 50th Street at 3d Avenue, NYC, 212.751.5710
and by appointment in Yonkers
page 26 | BE-HOLD | www.be-hold.com
some photographers
adams, ansel 120, 121
pfahl, john 194
agha, dr. m. e. 130
post (wolcott) marion 144
baltermants, dmitri 157, 158
renger-patzsch, albert 123
bar-am, misha 148
reynoso, Antonio 159 – 161
bartholomew, ralph jr. 181
ribaud, marc 180
bourke-white, margaret 146
rodchenko, alexander 152 – 155
brady, mathew 70
rosenfeld, morris 102
braun, adolph 110
roth, sanford 164
bristol, horace 100
rothstein, arthur 138 – 141
callahan, harry 186 –189
schindler, a. zeno 85
coke, van deren 178
shields, william gordon 115
collins, marjorie 135
smith, w. eugene 162
coster, gordon 131
steichen, edward 96, 97
cunningham, imogen 165
struss, karl 113, 114
curtis, e.s. 89, 90
teske, edmund170
delano, jack 137
thalemann, else 124
disfarmer, mike 134
tice, george 169
edgerton, harold 171, 185
turbeville, deborah 196
eisenmann, charles 83
vishniac, roman 151
epstein, mitch 193
watkins, carleton 91 – 93
erwitt, elliott 166
weegee 163
faludi, susan schiff 133
welpott, jack 167
fontana, franco 195
wessell, jr. 122
gardner, alexander and dodge, clarence 71
weston, edward 119, 184
genthe, arnold 116
glinn, burt 150
halsman, phillipe 191, 192
hamilton, david 182
haviland, paul burty 112
hillers, jack 88
horst, horst p. 132
horvat, frank 149, 179
jackson, william henry 80
kertesz, andre 125 – 129
khaldey, yevgeni 156
lange, dorothea 117
lee, russell 136
lyon, danny 147
meatyard, ralph eugene 168
meyer, ernest and peirson, louis 107, 108
meyerowitz, joel 190
misrach, richard 142, 143
missbach, leah 183
morgan, barbara 175 – 177
mumler, william howard 72
moulin, felix jacques-a 109
murray, joan 173
newton, helmut 197
noskowiak, sonya 118
orland, ted 174
parks, gordon 145
Lot 71
Larry Gottheim, Be-hold, Inc.
78 Rockland Avenue, Yonkers NY 10705
Tel 914.423.5806 | Fax 914.423.5802
E-mail behold@be-hold.com | Website: www.be-hold.com
The actual auction in eBay live will commence Thursday, March 13, 2008 2:00 p.m. Eastern
Place advanced bids as soon as you wish
