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Auction Description for Be-Hold: Portraits and Other Photographs 1840's to Modern
Viewing Notes:
Items can be viewed on our premises by appointment. 914.423.5806 / behold@be-hold.com

Portraits and Other Photographs 1840's to Modern

by Be-Hold


102 lots with images

May 29, 2014

Live Auction

78 Rockland Avenue

Yonkers, NY, 10705 USA

Phone: +1 914 423 5806

Fax: +1 914 423 5802

Email: behold@be-hold.com

102 Lots
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UNIQUE LIQUOR CABINET WITH THERMOPLASTIC PANELS.

Lot 1: UNIQUE LIQUOR CABINET WITH THERMOPLASTIC PANELS.

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Description: UNIQUE LIQUOR CABINET WITH THERMOPLASTIC PANELS. It may seem strange to start off an auction of photographs with a non-photographic object, wonderful as it may be. But thermoplastic is familiar to many collectors of early unique images because one of its major uses was in cases for ambrotypes, tintypes and even daguerreotypes, although it came late in the daguerreian era. Indeed this came from a major collector of such cases. So let's start the auction off with a toast. This is 10-inches high, plus the original legs. The top is 11 ½ x 15-inches, made of burled walnut veneer, on which is set a 7 x 10 3/4-inch thermoplastic panel depicting a scene, appropriate to its function, of Bacchus and a goat, with other cherubic figures reveling. This first use of plastic, in the 1850's and '60's, was as a fine art medium, because it could be molded with fine details. This scene is not known to have been used in cases, but it may be based, as other similar scenes, on some work of art. The front is 5 ½ x 13 inches, with a 4 ½ x 10 ¾- inch panel with an image of cherubs holding a cameo of a goddess. The sides each have 4 ¾ x 10 ¾- inch decorative thermoplastic panels, with extra extension panels.The hinged top lifts, along with the front, to reveal a decorative tray that would hold 4 decanters of spirits and a number of small glasses. This tray can be removed. The side panels can also swing open. This is quite a showpiece, and a masterpiece of thermoplastic art.

Condition Report: The panels and the wood veneer are fine without damage. There is some minor bumping on the outermost wood edges.[4-]

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YOUNG COUPLE, HAND-COLORED TALBOTYPES, LIKELY LANGENHEIM.

Lot 2: YOUNG COUPLE, HAND-COLORED TALBOTYPES, LIKELY LANGENHEIM.

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Description: YOUNG COUPLE, HAND-COLORED TALBOTYPES, LIKELY LANGENHEIM. These are in original matching 10 x 8 - inch frames. The mats have 5 ¼ x 3- inch oval openings. The subjects may be newlyweds. The young woman has the charming innocence of a folk painting.The consignor's source was a woman who said they were by Langenheim. When I first saw these I thought the gentleman was William Langenheim as a young man, as seemed possible from his similarity to the known portraits of William. But the subject is too young to be William at the time of the print. Perhaps he is a relative. The strange cropping of the bottom of the image in the man's portrait is characteristic of many (but not all) of the known Talbotypes by the Langenheims, including those in the great daguerreotype of William examining Talbotypes, now in the Metropolitan Museum. I have not seen this cropping in Talbotypes by others. These came to me around the same time as I received David R. Hanlon's Illuminating Shadows; The Calotype in Nineteenth Century America. The book gives a richly detailed accounting of the background of the Langenheims acquiring the US Patent for the Talbotoype [the process of printing from a paper negative] from Talbot in 1849, among many other rich details of the prior and subsequent activities of early paper photography in America. It has inspired me to include a group of related early images from the US.

Condition Report: These are [3+] with no damage.

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COLORED TALBOTYPE OF A CHILD BY JAMES W. WILLIAMS.

Lot 3: COLORED TALBOTYPE OF A CHILD BY JAMES W. WILLIAMS.

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Description: COLORED TALBOTYPE OF A CHILD BY JAMES W. WILLIAMS. 7 x 5 ½ - inch oval print in an ornate wood frame with gilded details. The child wears a checkered jacket. His hat rests on the matching cloak on the table. Williams' original label, the size of the print, is still behind the print. It is quoted in Hanlon's book, p. 176. It advertises Talbotypes taken from daguerreotypes, and states some of the advantages of Talbotypes over Daguerreotypes. There is also a smaller, later paper label with McClees and Germon's address in pen. This Talbotype may have been made from a daguerreotype by that other firm, although Hanlon shows that McClees and Germon themselves also made Talbotypes from daguerreotypes.

Condition Report: The print is in fine condition, with only a slight break at the very bottom. [D3+] The frame is excellent with no damage. [4] Rare to find an attractive subject in this condition with the original frame and label

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IVORYTYPE OF A YOUNG GIRL BY JAMES W. WILLIAMS.

Lot 4: IVORYTYPE OF A YOUNG GIRL BY JAMES W. WILLIAMS.

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Description: IVORYTYPE OF A YOUNG GIRL BY JAMES W. WILLIAMS. 8 ½ x 6 ½-inch in the original frame with Williams' original label behind. We see that Williams has moved from 37 to 33 North Sixth Street. His label advertises that he still makes Talbotypes, but the label gives prominence to the Ivorytype. The American Ivorytype was developed in Philadelphia in 1855, probably by Wenderoth ,and was produced mostly in Philadelphia. While the Talbotype was made from a paper negative, the Ivorytype had a negative on glass, and so was able to render finer detail. It used a salt print rather than an albumen print, because the albumen wouldn't allow for the transparency necessary in the process that required two prints from the same negative. The literature shows several variations of the process that produced intense color. The sharpness and sheen of ivorytypes may have appealed to some who loved the daguerreotype more than the contemporary images on paper.The girl has a Stanhope hanging down on her lap. A pen inscription on the backing reads "Hester Tees/ Died at age 14." So the poor girl didn't long survive her portrait. This was offered in a previous Be-hold auction, but here the starting bid is lower.

Condition Report: [4]

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PAIR OF IVORYTYPES, MAN AND WOMAN, IN ORIGINAL FRAMES.

Lot 5: PAIR OF IVORYTYPES, MAN AND WOMAN, IN ORIGINAL FRAMES.

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Description: PAIR OF IVORYTYPES, MAN AND WOMAN, IN ORIGINAL FRAMES. The oval openings are 12 x 9 - inches. These are striking images, with attractive skin tones, often a problem in this otherwise brilliantly colored format. An even larger Ivorytype is illustrated in The Daguerreian Annual 2009/2010, plate 1, from the Whiteley collection. The frame has its original wood backing, but there is no backing behind the ivorytype itself. So we can see the back of the rear salt print. The front of that print is brilliantly colored, and shows through the lighter salt print that is in front of it adhering to the glass, giving the excellent image that we see from the front. When we see the back of that colored print, we can only see the crude coloring that shows through on the back side.

Condition Report: [4]

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TWO WOMEN, ¼ PLATE CALOTYPE IN A CASE.

Lot 6: TWO WOMEN, ¼ PLATE CALOTYPE IN A CASE.

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Description: TWO WOMEN, ¼ PLATE CALOTYPE IN A CASE. The subjects are attractively posed within the arch-top mat. The image is light, giving it an ethereal quality. The push-button case is fine. American or English.

Condition Report: [3]

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THE GHOST OF LOLA MONTEZ. SALT PRINT VARIANT

Lot 7: THE GHOST OF LOLA MONTEZ. SALT PRINT VARIANT

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Description: THE GHOST OF LOLA MONTEZ. Salted paper print in oval format, cut from an album, 7 1/8 x 5 1/8 - inches. This is from a daguerreotype, a previously unknown variant of the famous portrait by Southworth and Hawes-The Spirit of Fact, Plate 28; Young America, Catalog number 145. Despite its condition, the print is important in showing the studio's working process, as they try different poses. We can see she is posed here beside a column, with a vase of flowers at the right. Her head tilts downward. The lace shawl that flows down from the back of her head to drape over her shoulders in the other plates is opened to cover more of her. She may not be wearing the same jacket as in the other 2 portraits from the same sitting, and possibly has a lighter dress. This makes three known poses of this celebrated courtesan from the same sitting. They reveal something of the care that the studio invested in her portraits.

Condition Report: There's a crescent break in the paper at the left of her neck area. [D1]

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ARTIST'S EXCURSION, BERKELEY SPRINGS VIRGINIA, 1858.

Lot 8: ARTIST'S EXCURSION, BERKELEY SPRINGS VIRGINIA, 1858.

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Description: ARTIST'S EXCURSION, BERKELEY SPRINGS VIRGINIA, 1858. 7 ½ x 6 ½ inch salted paper print, probably from the same album as the previous lot. This was an excursion arranged by the B&O Railroad to promote their new line. They outfitted the train elaborately, and invited a large number of artists and photographers to make images along the route. Here the train is stopped at Sir John's Run, the station serving Berkeley Springs [now West Virginia,] with the artists posing. Possibly some of the artists might be identified. A copy of this print is in the collection of the Smithsonian National Museum of American Art and two other institutions.

Condition Report: The print is somewhat light with a tear in the extreme upper left corner. [D2]

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STONE CHAPEL, MISSION CAPISTRANO. CALOTYPE

Lot 9: STONE CHAPEL, MISSION CAPISTRANO. CALOTYPE

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Description: STONE CHAPEL, MISSION CAPISTRANO. 4 3/8 x 6 5/8 - inch calotype. We can see very faint horizontal lines from the paper negative. Rare early calotype from California.

Condition Report: Clean, no damage, slightly light. [3-]

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PRESIDENT MILLARD FILLMORE. SALT PRINT FROM DAGUERREOTYPE

Lot 10: PRESIDENT MILLARD FILLMORE. SALT PRINT FROM DAGUERREOTYPE

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Description: PRESIDENT MILLARD FILLMORE. 7 3/8 x 5 ¼ - inch oval salted paper print, from a daguerreotype. Fillmore was Vice President under Zachary Taylor, and assumed the presidency after Taylor's death. An interesting article about Fillmore and daguerreian images of him is in the 2013 DAGUERREIAN ANNUAL. One of the principal functions of early American photographs on paper was for copies of daguerreotypes, whether of family images or of famous personages, as here.

Condition Report: [3]

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LEWIS CASS. SECRETARY OF WAR AND OF STATE. SALT PRINT

Lot 11: LEWIS CASS. SECRETARY OF WAR AND OF STATE. SALT PRINT

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Description: LEWIS CASS. 7 ¼ x 5 ¼ - inch oval salted paper print, from a daguerreotype. Cass was an active Freemason. He was a regimental commander and later Brigadier General in the War of 1812. He became Governor of Michigan Territory, Secretary of War under Presidents Monroe and Jackson, and Secretary of State under Buchanan. There's a great advertisement for a pain anaesthetic on the verso.

Condition Report: [3]

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JAMES HARLAN. SENATOR, SECRETARY OF INTERIOR. SALT PRINT

Lot 12: JAMES HARLAN. SENATOR, SECRETARY OF INTERIOR. SALT PRINT

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Description: JAMES HARLAN. 8 ¼ x 6 ¼ albumenized salt print from collodion glass negative. Harlan was a Senator from Iowa, Secretary of the Interior under Andrew Johnson. My favorite fact about him is that when Walt Whitman was a clerk in his department, he found a draft of "Leaves of Grass," and had Whitman dismissed because he found it morally offensive.

Condition Report: [3]

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HENRY CLAY. SALT PRINT VARIANT

Lot 13: HENRY CLAY. SALT PRINT VARIANT

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Description: HENRY CLAY. 6 ¼ x 5 1/8 - inch salted paper print from a daguerreotype by Julian Vannerson or M. P. Simons. Senator from Kentucky, Clay was a great orator and major political figure in the pre-Civil War era. A wonderful description of a Brady photo session with Clay is in Mary Panzer's Mathew Brady and the Image of History, p. 48. This image is a slight variant of the pose in Facing the Light, Plate "E," p. 307. Clay is facing slightly more forward in this image from a now lost daguerreotype.

Condition Report: [3]

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GABRIEL HARRISON DAGUERREOTYPIST, BY ALVA PEARSALL

Lot 14: GABRIEL HARRISON DAGUERREOTYPIST, BY ALVA PEARSALL

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Description: GABRIEL HARRISON BY ALVA PEARSALL. 5 5/8 x 4- inch albumen print tipped onto a page from a publication. An informative article about Harrison, "The Poetic Daguerrean," by Grant Romer, can be found here: http://www.be-hold.com/uploads/Harrison.pdf The flamboyant and energetic Harrison had a career in the theater and was active in politics, though he is best known for his daguerreotypes. He is credited with important daguerreotypes of Poe and Whitman (it has been questioned whether he was the artist.) His other daguerreotypes include the famous "Infant Savior" in which his son is posed as Jesus carrying the cross. He worked in the Plumbe studio, and opened his own gallery in Brooklyn. Pearson had served as an operator in Brady's Gallery, and opened his own studio in Brooklyn in 1877. Thus we have here two of the great daguerreotypists from Brooklyn, to be placed alongside the great Charles Williamson.

Condition Report: [3+]

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JOSEPH BRIMBLE, A NEW JERSEY MASON. SALT PRINT

Lot 15: JOSEPH BRIMBLE, A NEW JERSEY MASON. SALT PRINT

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Description: JOSEPH BRIMBLE, A NEW JERSEY MASON. 8 x 6- inch oval salted paper print an a board album page from an album devoted to New Jersey Masons. His name and Masonic rank 1857 - 1859 is noted in period pencil beneath the print. He has a Stanhope at his waist. I just received this, while the prints in the next lot, obviously from the same album, came to me from an entirely different source 10 years ago.

Condition Report: [3+]

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MASONIC PAST MASTER, TRENTON N.J. 2 SALT PRINTS

Lot 16: MASONIC PAST MASTER, TRENTON N.J. 2 SALT PRINTS

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Description: MASONIC PAST MASTER, TRENTON N.J. 8 x 6- inch oval salted paper print on a board album page. A pencil inscription identifies him as Sylvester Van Sickel "P.M. of Trenton...." He was a member of Company B, First New Jersey Volunteers, and died in Brooklyn in 1883. Accompanied by another similar format image of an unidentified gentleman, also a Mason. Provenance: Collection of Sam Wagstaff.

Condition Report: First is [3-], second [3+].

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LEVERETT LEONARD AT DARTMOUTH, 1859.

Lot 17: LEVERETT LEONARD AT DARTMOUTH, 1859.

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Description: LEVERETT LEONARD AT DARTMOUTH, 1859. 4 ½ x 3 ½ - inch oval salted paper print on 12 x 10 - inch page from a class album. Salted paper prints were often used in class albums of the period. Leverett, and his cousin Reeves, were among the few Southern students at Dartmouth. They were from Missouri. Reeves' father Abiel, originally from Vermont, had attended Dartmouth. Information written in period pen on the album gives this information-- "Lawyer. Graduate Harvard Law... Officer in Confed. Army. [I have not been able to verify this] Farming in vicinity of St. Louis...."

Condition Report: [3]

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ALBUMEN PORTRAIT BY GERMON, PHILADELPHIA.

Lot 18: ALBUMEN PORTRAIT BY GERMON, PHILADELPHIA.

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Description: ALBUMEN PORTRAIT BY GERMON, PHILADELPHIA. A superb 8 ½ x 6 1/8 - inch portrait of a bearded gentleman identified in pencil verso as William Morris, M.D., Philadelphia. Germon's blindstamp is on the mount, below the print. On the verso is a label that advertises "IVORYTYPES of all sizes./Photographs from Life or Daguerreotypes/ Photographs from Miniature to Life size/ Photographs Life size in Oil... / Photographs in Water Colors/ Photographs in India Ink/ Photographs in Pastel/ DAGUERREOTYPES/ Of all sizes & styles, in the highest perfection of Art." As many other lots in this auction show, Daguerreotypes were made and sold in the 1850's in the context of many forms of photographs on paper. The superb print has subtle coloration to the face.

Condition Report: [4]

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ALBUMEN PORTRAIT OF SISTERS BY GERMON.

Lot 19: ALBUMEN PORTRAIT OF SISTERS BY GERMON.

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Description: ALBUMEN PORTRAIT OF SISTERS BY GERMON. 8 1/8 x 6-inch albumen print, with Germon's blindstamp on the mount, below the print. No damage, but surface lacks perfect sheen.

Condition Report: [3]

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MRS. RIGBY BY HILL AND ADAMSON.

Lot 20: MRS. RIGBY BY HILL AND ADAMSON.

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Description: MRS. RIGBY BY HILL AND ADAMSON. This profile is one of several portraits they made of the subject. There is a gravure of this image in "Camera Work" that is reversed. This 8 x 5 7/8 salt print, ca.1844-45, is clean but light.

Condition Report: [2+]

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DR. GUNN BY HILL AND ADAMSON.

Lot 21: DR. GUNN BY HILL AND ADAMSON.

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Description: DR. GUNN BY HILL AND ADAMSON. 7 7/8 x 5 7/8-inch salt print, possibly a calotype. Framed.

Condition Report: The image is light, with a brown stain on the lower right that appears original. [2-]

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SIR GALAHAD AND 'THE PALE NUN' JULIA MARGARET CAMERON.

Lot 22: SIR GALAHAD AND 'THE PALE NUN' JULIA MARGARET CAMERON.

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Description: SIR GALAHAD AND 'THE PALE NUN' JULIA MARGARET CAMERON. 13 1/8 x 10 5/8- inch on the original album page with gold border around the print, 1875. The title is written in pen beneath the image, in the same hand as in other prints. This lacks the line that usually appears above the title. "The Pale Nun" is in quotations marks. This is one of the 24 prints Cameron selected from 245 photographs she made of the subject for an edition of Tennyson's "Idylls of the King". The glances do not meet; this must have been intentional in terms of the poem, as Cameron was very close to Tennyson who approved of the photograph. Cameron's personal servant Ann Holland appears as the lovely nun.

Condition Report: This is just short of rich, as is the print in the Metropolitan Museum. There is light fading at the very edge. The print in the Victoria Albert Museum is much more heavily edge faded (these are based on the images on the museums' websites.[3+]

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SELF-PORTRAIT OF  PAINTER JEAN-BAPTISTE FRÉNET. NEGATIVE

Lot 23: SELF-PORTRAIT OF PAINTER JEAN-BAPTISTE FRÉNET. NEGATIVE

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Description: SELF-PORTRAIT OF JEAN-BAPTISTE FRÉNET. 8 5/8 x 6 2/4-inch calotype, plus the paper negative. Frénet (1814-1889) was a painter, a disciple of Ingres. He began to work with photographs around 1850 and had a peripheral role in the development of paper photography in France. The article in the French Wickipedia including the notes [in French but may be translated] provides interesting details. He opened a gallery in Lyon in 1866. His photographs were not well known until a cache of his photographs was discovered in 2000. I presented this in an earlier auction, but only recently compared it with his painted self-portrait, and realized that this is his self-portrait, a little older than the image in the painting. He has trimmed his beard to only protrude from his chin, but the upper part of his face is clearly recognizable-the distinctive hair style with the point coming down over his forehead; the unusual eyeglasses, the ear with the hair behind it. The retouching on the print could also be explained if he was planning to use this image as the basis for another painted self-portrait.

Condition Report: Just a little light; otherwise fine. [3]

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CHILD WITH TILTED HEAD BY SOUTHWORTH AND HAWES.

Lot 24: CHILD WITH TILTED HEAD BY SOUTHWORTH AND HAWES.

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Description: CHILD WITH TILTED HEAD BY SOUTHWORTH AND HAWES. 1/6 plate daguerreotype, one of only four 1/6 plates of unidentified children given a full page in Young America. [Catalog 1537, p. 192.] This is posed with great sensitivity. Every curve in the image is carefully arranged within the oval mat. The child's expression is difficult to "read", shifting every time I look at it-serious but not solemn. The hair is a main feature, tinted a subtle copper tone. The curve of the similarly tinted shirt is a reverse of the hair line. In a fine black pushbutton case.

Condition Report: Tiny wispy mat abrasions at very top and left edges hardly detract from the perfection. [4-]

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OVERVIEW OF SMYRNA BY FRITH.

Lot 25: OVERVIEW OF SMYRNA BY FRITH.

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Description: OVERVIEW OF SMYRNA BY FRITH. 6 x 8- inch albumen print on original mount, with printed title and text, embossed "Printed by F. Frith, Reigate" on the mount, recto. Small label on verso: "Frith's Photo Pictures/ the Universal Series" and pencil inscription by the original Paris seller.

Condition Report: Very mild foxing only on mount. [4-]

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NOUVEAU LOUVRE BY EDOUARD BALDUS.

Lot 26: NOUVEAU LOUVRE BY EDOUARD BALDUS.

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Description: NOUVEAU LOUVRE BY EDOUARD BALDUS. 7 ¼ x 11 1/8- inch albumen print on the original 13 x 16 5/8- inch mount from a "PARIS" album, No. 11, with imprinted title and Baldus' facsimile signature on the mount recto, ca. 1857. There is a horizontal bend and tear at the very bottom of the mount, in the margin.

Condition Report: [4]

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COLLONADE DU LOUVRE BY BALDUS.

Lot 27: COLLONADE DU LOUVRE BY BALDUS.

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Description: COLLONADE DU LOUVRE BY BALDUS. 7 5/8 x 10 ¼- inch albumen print on original mount like previous. This is No. 27 from the PARIS series.

Condition Report: [4]

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CORPS LÉGISLATIF BY BALDUS.

Lot 28: CORPS LÉGISLATIF BY BALDUS.

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Description: CORPS LÉGISLATIF BY BALDUS. 7 5/8 x 10 7/8- inch albumen print on original mount like previous. This is No. 33 from the PARIS series.

Condition Report: [4]

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PAVILLON DE L'HORLOGE BY BALDUS.

Lot 29: PAVILLON DE L'HORLOGE BY BALDUS.

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Description: PAVILLON DE L'HORLOGE BY BALDUS. 9 ¾ x 7 5/8- inch albumen print on the original mount like previous. This is No. 81 from the PARIS series. Slight tear at very bottom of the mount.

Condition Report: [4]

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STE CLOTILDE BY BALDUS.

Lot 30: STE CLOTILDE BY BALDUS.

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Description: STE CLOTILDE BY BALDUS. 10 5/8 x 7 ¾- inch albumen print on the original mount like previous. This is No. 83 from the PARIS series. It is the only one of this group that has people in the scene. A terrific print!

Condition Report: [4]

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LES TUILERIES FAÇADE PRINCIPALE BY J. ANDRIEU.

Lot 31: LES TUILERIES FAÇADE PRINCIPALE BY J. ANDRIEU.

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Description: LES TUILERIES FAÇADE PRINCIPALE BY J. ANDRIEU. 11 5/8 x 14 ¾- inch albumen print on the original large gray mount, with title and credit in red on the mount recto. This is from Andrieu's "Désastres de la Guerre" series. It shows the Tuileries after it had been burnt during the Commune in 1871. Other parts of the city can be seen in the background.

Condition Report: Clean but just short of rich. [3]

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COUR DU PALAIS DE LA LÉGION d'HONNEUR BY J. ANDRIEU.

Lot 32: COUR DU PALAIS DE LA LÉGION d'HONNEUR BY J. ANDRIEU.

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Description: Lot 32. "COUR DU PALAIS DE LA LÉGION d'HONNEUR" BY J. ANDRIEU. 11 5/8 x 14 ¾- inch albumen print on large gray mount with red title and credit. From the same series as the previous lot showing the destruction by the Communards. The inscription over the columns, "HONNEUR ET PATRIE" has ironic significance in terms of the rubble below.

Condition Report: The print is clean but somewhat light. [3-]

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CHATEAU DE BAGATELLE BY EUGENE ATGET.

Lot 33: CHATEAU DE BAGATELLE BY EUGENE ATGET.

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Description: CHATEAU DE BAGATELLE BY EUGENE ATGET. 8 ¾ x 7- inch albumen print, with Atget's pencil title and number on the verso. While the Chateau gives the title, the interest is in the juxtaposition of the young tree in its square box and the elaborate curves of the light. A nice print without color distortion.

Condition Report: [3+]

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Lot 34: "GRAND SAINT BERNARD - VALAIS" BY BISSON FRÉRES.

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Description: GRAND SAINT BERNARD - VALAIS BY BISSON FRÉRES. 8 5/8 x 15 ¼- inch albumen print on large cream mount with the title, "Bisson Fréres" stamped signature, and an embossed stamp "Photographes De S. M. l'Empereur" on the mount.

Condition Report: The mount edges are worn with brief tears and there is slight foxing. The print itself is fine. [4-]

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FIVE VIEWS OF JAPAN BY FELICE BEATO.

Lot 35: FIVE VIEWS OF JAPAN BY FELICE BEATO.

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Description: FIVE VIEWS OF JAPAN BY FELICE BEATO. Albumen prints on the original 12 x 17 ¾- inch mounts from an album. Prints are 9 ¼ x 11 ½- inches or the reverse. There are large labels on the verso with titles and text in English, within a decorative border. In some cases the label does not match the image. a) "Atango Yama, Yedo." Steps leading up to the temple, with people posed. [4-] b) "The Bronze Statue of Dai-Bouts." Figures posed. Clean but somewhat light. [3-] c) "Great Bell of the Temple of Kobo-Daishi." Clean, just a little light. [3] d) Kamakura. Clean, just a little light. [3] and e) A field with farmers, village behind. [3+] These are not hand-colored and have a different character than most photographs for the tourist trade.

Condition Report: [various; see description]

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PEARY NORTH POLE EXPEDITION. PHOTOS, DOCUMENTS, OBJECTS

Lot 36: PEARY NORTH POLE EXPEDITION. PHOTOS, DOCUMENTS, OBJECTS

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Description: A collection of vintage material dealing with this 1909 expedition, from the Estate of Henry Rood. Rood was a correspondent for Harper's [they sponsored the expedition,] and a close friend of Peary's. When Peary announced he had reached the pole, he sent a personal telegram to Rood, "I have the Pole -- regards to Mrs. Rood." [A negative on glass of this telegram is included with this material.]This is just short of rich, as is the print in the Metropolitan Museum. There is light fading at the very edge. Rood was on the ship with Peary when he sailed from Manhattan to Oyster Bay Long Island, the residence of President Theodore Roosevelt. Peary's ship was named the "Roosevelt," and the President stepped aboard. During the visit Rood remained on the ship until Peary set forth on his journey to the Arctic. When Rood received news from Peary that Peary was returning from the North Pole, he went to greet him in Labrador, and was among the first journalist to meet Peary at Battle Harbor [The material includes an interesting account of how he beat other journalist to the meeting.] He arranged for Peary's wife to come to Labrador to meet her husband. The collection includes original telegrams and correspondence between Peary and Rood connected with the expedition. Artifacts include a scrap of the flag Peary planted along his journey, which he presented to Rood, There is much documentation in the material about this scrap. According to Peary's biography in the Naval History and Command website, "The Peary flag, a faded and stained United States flag, which hangs in Explorers Hall of the National Geographic Society Headquarters in Washington, was presented by Mrs. Stafford in 1955. Stitched by her mother in 1898, it had been carried as a talisman by Peary who had left snippets of it to mark his explorations in the Arctic. Several fragments have been recovered and restitched into the flag." There is a walrus tusk very faintly inscribed by Peary to Rood. [This tusk is much more than 100 years old, and so exempt from the important prohibition regarding the sale of material from endangered species.] There is also a small charming 1 5/8- inch carved ivory figure presented to Peary by an Eskimo. http://www.be-hold.com/uploads/PearyScans.zip I can provide a list of a all the photographs if you inquire. Slides and full informative notes for lectures that were given by Rood's son about the expedition give a context for the material. There is a letter from artist Charles Furlong to Rood. A sheet from a Rood guest book includes Peary's signature. There is an important lengthy letter from Vilhjalmur Stefansson, sent to Rood on November 24, 1906 from "Shingle Point, Arctic Ocean." Stefansson was a member of the 1906 Anglo-American Polar Expedition, led by Peary. Stefansson was an ethnologist and writes interestingly about his time with the Eskimos. The heart of the collection is a group of 51 photographs of scenes before and after the expedition, most taken by Rood. 43 are accompanied by the original negatives, and there are a couple of negatives with no prints.Peary's expedition was not as dramatic as Scott's Terra Nova expedition to the South Pole a few years later, nor did he have a photographer along, while Scott had the great Herbert Ponting. These images are as close as we have to authentic documentation of aspects of the expedition. The photographs are mostly 3 x 3 ½ to 4 x 5 - inches. They are slightly light with light soil but are quite legible. Most are accompanied by the original negative.The images related to the departure from New York include photographs of the ship "Roosevelt" leaving the 23d street pier, leaving the East River on route to Long Island. Ship-board scenes include several that show Peary and also Matthew Hensen. Hensen was a black worker who was originally hired as Peary's aide, but became an important part of the expedition and is the first known black to have explored the arctic. He became a close companion of Peary's, and both had young Inuit wives from whom they fathered children. One photograph shows Hensen (a back view) teaching Peary's son (from his American wife) how to arrange the rigging, taken at Oyster Bay. There are two large press photographs of Hensen taken later, as well as a Condolence card he sent to the Rood family after Henry's death. Other images show Battle Harbor, Labrador, where the expedition arrived from the Arctic. Some show the building of a sled. There are a number of views of this community, and images of the crew, the charter boat that brought the journalists, and two photographs of Peary and Captain McCain. There are photographs of the telegraph station and its antenna, and the operator who had a sore arm from sending so many telegrams.There is a glass positive copy of the telegram sent to Rood from Indian Harbor: "I have the Pole-Regards to Mrs. Rood." There are 13 original telegrams, most between Peary and Rood.

Condition Report: The material is generally in good condition, but shows signs of handling, and some fading of the photographs. [2] to [3]

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VLADIMIR MAYAKOVSKY ON THE BEACH. Brik/Rodchenko

Lot 37: VLADIMIR MAYAKOVSKY ON THE BEACH. Brik/Rodchenko

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Description: 7 1/8 x 5- inch gelatin silver print. This is in northern Germany or Scandinavia, ca . 1923. A Russian note in green pencil on the verso indicates the photo was taken by Ossip Brik. It was printed by Rodchenko, and acquired by the consignor from the Rodchenko family. Mayakovsky was the great poet of the early Soviet period. Brik, a close friend, was a critic, publisher, film writer. They were both major figures in the flowering of the avant-garde arts in the early Soviet period. This is possibly a unique photograph.

Condition Report: [2]

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ALEXANDER RODCHENKO,

Lot 38: ALEXANDER RODCHENKO, "MUSEUM SERIES PORTFOLIO 2: PORTRAITS."

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Description: ALEXANDER RODCHENKO, "MUSEUM SERIES PORTFOLIO 2: PORTRAITS." 28 gelatin silver portraits on hand-made lightfast, grey archival debossed mounts , 1924, printed 1997 by Alexander Lavrentiev and Yuri Plaksin. Photographs selected by Howard Schickler, Varvara Rodchenko and Alexander Lavrentiev, with endpaper portrait (1929) of Rodchenko by Eliezar Langman, in an elegant black leather box. These include some of Rodchenko's most celebrated portraits, including Mayakovsky, Osip Brik, Lily Brik. For complete contents see the pdf at http://www.be-hold.com/uploads/ARPF2_Catalog.pdf. This was issued in an edition of 30, with 5 hors commerce. This is No. 3 of the hors commerce boxes. Other boxes have sold at auction for about $40,000 - $60,000. This is in perfect condition.

Condition Report: [4]

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A WOMAN'S FACE (FILM ACTRESS FRANÇOISE ROSAY) BY MAN RAY.

Lot 39: A WOMAN'S FACE (FILM ACTRESS FRANÇOISE ROSAY) BY MAN RAY.

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Description: A WOMAN'S FACE (FRANÇOISE ROSAY) BY MAN RAY. 10 x 7 ¾- inch gelatin silver print, 1930's, with "PHOTOGRAPH BY MAN RAY" stamp and "Reproduction interdite" stamp by l'Adage, Paris, on verso. The photograph is lightly solarized. Rosay was one of the leading French film actresses of the 1930's. She was married to the director Jacques Feyder. Her major French roles included "La Kermesse héroique"("Carnival in Flanders"), 1935, and "Drôle de drame" (1937), and she made many films in Hollywood.

Condition Report: [3+]

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A WOMAN'S FACE, BY RÉMY DUVAL.

Lot 40: A WOMAN'S FACE, BY RÉMY DUVAL.

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Description: A WOMAN'S FACE, BY RÉMY DUVAL. 11 ½ x 9 ¼- inch gelatin silver print on heavy paper, signed and dated "32" on the bottom of the print. Duval (1907 - 84) was a painter and photographer in the circle of the surrealists. There is a famous nude portrait of her by Man Ray.

Condition Report: This print has some shiny silvering in the dark areas at the periphery. [3]

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A WOMAN'S FACE, BY GEORGE PLATT LYNES.

Lot 41: A WOMAN'S FACE, BY GEORGE PLATT LYNES.

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Description: A WOMAN'S FACE, BY GEORGE PLATT LYNES. 13 x 10 ½- inch toned gelatin silver print on heavy paper with Lynes' 145 East 52 Street stamp on verso.

Condition Report: Has been removed from a backing so there is glue on the verso, brief tears and a stain at lower right, but still beautiful. [D2+]

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MARILYN'S FACE, BY PHILIPPE HALSMAN.

Lot 42: MARILYN'S FACE, BY PHILIPPE HALSMAN.

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Description: MARILYN'S FACE, BY PHILIPPE HALSMAN. 11 x 8 ½- inch gelatin silver print, 1952, printed 1981 from the portfolio "Halsman/Marilyn" by the Neikrug Press, printed by Stephen Gersh. This is one of 3 prints in this sale out of 10 from Portfolio 117 from an edition of 250. See Lots 60 and 61. If you win one of these lots and want the title folder that includes a note by Lee Strasberg, contact us.

Condition Report: [4]

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A MAN'S FACE, TAKING A DRINK, BY WEEGEE.

Lot 43: A MAN'S FACE, TAKING A DRINK, BY WEEGEE.

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Description: A MAN'S FACE, TAKING A DRINK, BY WEEGEE. 14 x 11- inch gelatin silver print with Weegee's West 47th St. stamp and his circular "Weegee the Famous" stamp on verso, and a number. Very deep blacks.

Condition Report: When I hold this at an angle directly illuminated by a bright lamp I see a few light wrinkles, probably from the print having been handled loosely. The paper is fairly heavy and not very flexible. They are in the black area of his jacket. One goes diagonally from the left up towards his collar. There is some bending in the lower left corner area. The upper right corner is weak. None of this breaks the surface, so it looks rich from the front especially if matted. . [D4-]

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BAKUTU WOMAN.

Lot 44: BAKUTU WOMAN.

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Description: BAKUTU WOMAN. 11 7/8 x 9 ½- inch toned gelatin silver print on heavy paper. Titled in French and dated 1939 with the insignia of the photographer verso, this is a stunning portrait of this woman from what was then Belgian Congo. While it shows the elaborate scarification of the woman, it is notable for her posing with her relaxed arm behind her back, and her expression. I see it more as a great portrait and not just an ethnographic study. It is reminiscent of the great portraits from this area and time by Casimir Zagourski, but the Zagourskis I've seen are posed outdoors, while this presents the woman against a white background. Terrific

Condition Report: [4]

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DENISE COLOMB SELF-PORTRAIT.

Lot 45: DENISE COLOMB SELF-PORTRAIT.

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Description: DENISE COLOMB SELF-PORTRAIT. 11 x 7- inch gelatin silver print, 1930's, printed later. A wonderfully imaginative early self-portrait by this photographer whose life extended from 1902 to 2004! Her early photographs were in Indochina and later the West Indies and India, but she is most known for her portraits of artists made in Paris. No signature or stamp.

Condition Report: [4]

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ANTONIN ARTAUD BY DENISE COLOMB.

Lot 46: ANTONIN ARTAUD BY DENISE COLOMB.

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Description: Lot 46. ANTONIN ARTAUD BY DENISE COLOMB. 12 x 9 3/8- inch gelatin silver print, signed on the mount, recto, 1942, printed 1990 on pearl paper. Artaud appeared in many great films, including Dreyer's "The Passion of Joan of Arc." He was a poet, writer, member of the surrealists, and a major force in advanced theater practice. His two major books are "The Theater of Cruelty" and "The Theater and its Double." He was seriously mentally ill, and it was after a period of hospitalization that Colomb made a series of portraits that are his defining image and the start of her series of portraits of artists.

Condition Report: . [4]

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HANS ARP BY DENISE COLOMB.

Lot 47: HANS ARP BY DENISE COLOMB.

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Description: HANS ARP BY DENISE COLOMB. 11 ¾ x 9-inch glelatin silver print, on pearl paper. Titled, dated 1954, and signed by Colomb in pencil on verso, printed 1989.

Condition Report: [4]

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GIACOMETTI BY DENISE COLOMB.

Lot 48: GIACOMETTI BY DENISE COLOMB.

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Description: GIACOMETTI BY DENISE COLOMB. 11 7/8 x 9 1/8- inch vintage gelatin silver print, 1954. Titled, dated and signed on verso. Giacometti was one of the most photographed artists of the period, aside from Picasso. This is one of the best portraits.

Condition Report: 3 very trivial short bends at left, and upper right corner, are not normally visible. [D4-]

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SCULPTOR ÉMILE GILIOLI, REFLECTED,  BY WILLY MAYWALD.

Lot 49: SCULPTOR ÉMILE GILIOLI, REFLECTED, BY WILLY MAYWALD.

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Description: ÉMILE GILIOLI BY WILLY MAYWALD. 12 ½ x 12- inch gelatin silver print signed in pen on verso with "Gilioli1948" in pen. Gilioli's abstract sculpture began to be exhibited in the late 1940's. Here he is seen reflected in a mirror mounted on a canvas stretcher, with other objects such as an umbrella and wooden shoe.

Condition Report: [4]

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JEAN LOUIS BARRAULT BY WILLY MAYWALD.

Lot 50: JEAN LOUIS BARRAULT BY WILLY MAYWALD.

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Description: JEAN LOUIS BARRAULT BY WILLY MAYWALD. 15 ½ x 11 7/8-inch vintage gelatin silver print mounted on board, 1954, signed, titled and dated on verso, with his Paris stamp. Barrault (1910 - 1994) appeared in many French films, notably in "Les Enfants du Paradis" (1945.) He was a major force in the French theater, and had his own theater where he acted, directed and was responsible for many significant productions. Aside from his fashion photography [see Lots 77 and 78.] Maywald made important photographs of artists.

Condition Report: [4-]

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