BE-HOLD 39

Be •hold catalog 

39 

Larry Gottheim 914.423.5806

BE-HOLD 

No. 39 

BIDDING 

DEADLINE: 

Thursday, 

April 4, 2002, 

9PM 

(Eastern Time) 

This is an offering of significant original mostly vintage photographs at auction. The presentation 

consists of three parts. 1) THE CATALOG. This is the primary presentation, and is 

the fruit of several months effort to present the material in a sensitively arranged manner 

that will repay repeated study, even long after the sale is over. This is one of the few sales where the 

ordering of the material and the relationship between Lots in so carefully attended to. 2) THE WEB 

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realize the quality of what you are skipping over. Frequently those who preview the material end up 

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The catalog text as well as color scans can be viewed on our web site http://www.be-hold.com. There 

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updated for at least a month with these post-auction sales. 

page 2 | BE-HOLD | www.be-hold.com

BIDDING DEADLINE: 

Thursday, April 4, 2002 

9PM (Eastern Time) 

PREVIEW IN NYC 

Thursday, March 14, 1:00 pm - 10:00 pm 

Friday, March 15, 9:00 am - 10:00 pm 

Saturday, March 16, 9:00 am - Noon 

PLAZA HOTEL 5O 

50th Street and 3rd Avenue 

Hotel Phone 212.751.5710 

ISSN # 1075-0363 

Be •hold 

catalog 39 

INDEX BY SOME SUBJECTS 

ART & CULTURE 

literature. 58, 118, 119 

music & theater. 120 - 124 

painting. 116, 117 

photography. 7, 19, 28, 45, 51, 63 

ATHLETIC 

baseball. 104, 105 

boxing. 66, 102, 103 

skating. 77 

wrestling & physical culture. 65 - 72, 98 - 100 

ETHNIC, RACIAL GROUPS 

blacks. 68 - 72, 88. 102, 103, 136 

chinese. 34, 56 

american indian. 24, 40, 41, 59, 80 - 85 

MILITARY & POLITICAL 

military. 9, 10, 18, 22, 23, 86 

political. 96, 97, 125 

SOME PLACES 

california. 14, 48 - 56, 64, 86, 91, 92, 128, 129 

new england. 27, 28, 33, 75, 78, 126, 131 

new york city. 21, 132 - 136 

texas. 63, 86, 88 

mexico. 63, 137, 138 

russia. 30, 31, 66 - 74, 116 

TECHNOLOGY 

aviation. 95, 137 

engineering & invention. 1, 33, 93, 94 

mining. 37, 38, 42, 44 - 46, 52, 57 

ON THE COVER: Lot 139 

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

DAGUERREOTYPES 

Lot 1. ISAMBARD KINGDOM BRUNEL. 

1/4 plate in passepartout by Dodéro, Marseilles, with 

advertising on the paper backing, within a case. A ship's 

officer is seated in the center, a gentleman with a cane in 

profile on the left, and Brunel at right. Brunel died in 1859 

after the disastrous first launching of The Great Eastern. 

Son of the great engineer Marc Isambard Brunel, he was 

daring and brilliant in many engineering fields, including 

tunnel and bridge building, railroad and ship design. This 

portrait late in his life shows his piercing eyes and other 

features recognizable from the few famous portraits. He 

wears side whiskers and holds a cane. His short stature 

is confirmed by a comparison of his legs with those of the 

other figures. A bright edge of tarnish near the gilt edge 

of the passepartout enhances the tinted flesh tones. A 

few circular rings on the plate from moisture from the 

glass. [3] $5000 

Lot 2. OUTDOOR SHIRT. 

A handsome fellow who has something of an actor's flair. He is holding a riding crop, and the 

sleeves of his shirt are rolled up. There's a handkerchief in the breast pocket. The shirt bottom 

appears to be buttoned onto a sash, rather than covered by a characteristic large belt buckle. The 

dapper fellow could be a miner enjoying some new-found wealth, or another type of outdoorsman 

with style. This half plate has not been taken in some fashionable studio-- more likely closer to 

where the subject has made his fortune. The chair is simple, and there's a blurriness of the table 

top that a more upscale operator would have avoided. There's a very slight "wave" horizontally 

near the center of the plate, some mat abrasions, and a fine vertical line at right. In a thermoplastic 

frame that has a crack and corner chip but is still presentable. The general impression is better 

than a catalog of flaws, which might be true of the character of the sitter as well. [D3-] $850 

Lot 3. THREE SISTERS BY WILLIAMSON. 

Half plate. The girl at left wearing pantaloons is standing 

on something, The older sister at right wears a 

velvet dress. They hold up the baby in a natural manner-- 

it is the relaxed yet slightly animated feeling that 

makes this an endearing image. Subtle flesh tones and 

light blue on the clothing. A small area on the bottom 

of the left girl's dress shows lighter. 

Williamson's Brooklyn NY name is stamped 

in lower left corner of the double elliptical 

mat. In full case with original spine intact. 

[3+] $850 

Lot 4. GIRL WITH BOOK. 

Very pleasing portrait, with nice coloring 

against the dark silver backdrop. The beaded 

edging of the table at right is a nice 

touch. 1/6 plate in fine case with snake and 

bird's nest design. [4-] $150 

page 4 | BE-HOLD | www.be-hold.com 

View items and bid online at www.be-hold.com.

Lot 5. CURL AND PIN. 

Superb 1/6 plate waist-up portrait of this woman of contrasts. Her 

expression is a bit solemn, inward. But her careful curl stands out like 

a showy feather on a bird, and her pin has been elaborately pricked 

on the plate to give it a sparkle. Still sealed to oval mat with black 

strip label for A. C. Nichols. Nichols was a daguerreian in Fulton NY, 

who also had a gallery in Oswego, and shared a studio with George 

N. Barnard, which he continued when Barnard moved to Syracuse, 

and he himself also later worked in Syracuse. He attended the first 

convention of American photographers-- the convention of the New 

York State Daguerrean Association in Utica New York in 1851 (a list 

of delegates appears in Welling, "Photography in America," p. 85.) 

This is a rare and fine example of Nichols' work. In full case. [4] 

$500 

Lot 6. NEW ENGLAND LADY. 

1/9 plate in oval mat stamped "R. D. Maxham." Her pose and self-presentation are fairly typical. She 

wears an attractive wrist band, and her pin and earrings have been touched with gilding. Still sealed, with 

a few spots on underside of glass. Maxham's work is rarely seen. He operated in Dover, NH and 

Worcester, Mass. [3-] $75 

Lot 7. INSCRIBED PLATE 

WITH DAGUERREIAN ADVERTISING. 

This is a 1/6 plate, without image, but which has been deeply 

incised with a logo for "S. G. Conger/ Daguerrean/ Artist." 

This is in the exact style of the cartouche which is sometimes 

found stenciled on the silk pad of an 1840's daguerreotype 

case. It is in a stippled octagonal mat, which would be appropriate 

for that era (re-taped to the mat,) in a full case. 

Conger is not known as a daguerreotypist other than for this 

object. There is a C.F. Conger reported as a stereographer 

in Brookville and Tionesta 

Pennsylvania, by Darrah. Linda 

Ries notes there is an S. Conger listed in Philadelphia in the 1850 census-could 

this be our man? My conjecture is that this artist found a uniquely 

appropriate daguerreian way to announce himself, perhaps used as an identifying 

"label" in a display of his images. [3+] $1300 

Lot 8. HOUSE IN STRASBOURG, 

by Patrick Bailly-Maitre-Grand, 1985. 1/2 plate, signed and dated on back of 

the plate. For a discussion of Maitre-Grand's daguerreotypes see Grant 

Romer's "Modern Daguerreotype" in Wood, "The Daguerreotype: a 

Sesquicentennial Celebration," where this daguerreotype is illustrated, p. 113. 

The artist has a background in science and painting. He made daguerreotypes 

for only a few years, and subsequently works in other photographic media. 

When this object was in another collection, it suffered a slight scratch at the 

very top. The present housing mostly obscures it. This crisp architectural 

image has a lovely brown tone against the cool silver. [D4] $2000 

page 5 | BE-HOLD | 914.423.5806 

DAGUERREOTYPES

AMBROTYPES 

These items deserve to be seen in person at the NYC preview. 

Lot 9. HOLDS AN IMAGE. 

This bearded soldier displays his rifle and other gear, and holds open a case in which we can see a military 

image, perhaps his own portrait. 1/6 plate ambrotype on ruby glass is slightly light, with some abrasions at 

the edge of the mat especially at bottom, and one vertical scrape on the rifle barrel at the level of his hat 

brim. In full case. [D2] $250 

Lot 10. ELEGANT SOLDIER. Dressed for the cold. Holds sword with his gauntlet-clad hands. An 

uncommonly rich 1/4 plate, in full case. [4] $350 

Lot 11. THE CORNER. 

A beautiful and richly detailed 1/2 plate ambrotype. The camera 

is across the wide street, with a building behind it, which casts 

a shadow on the foreground. The sun coming down at a high 

angle makes a strong shadow of the outer staircase and walkway 

that is a prominent detail. Some of the figures in the 

shadow area, such as the man at the right, are rendered as silhouettes. 

There is no identification of the place other than a 

sign for Lake Street, so one assumes this is on a large lake 

(maybe a Great Lake), but the distinctive architecture should 

give a clue. There are many signs which indicate a major 

German population, such as for the Deutsche Apotheke, 

Mueller the Druggist. Also signs for Dohmen Importers, J. 

Lewis, Tailor, etc. The C. E. Handy store has large baskets in 

front, and large barrels out on the curb. Many figures and some 

carriages give further interest. Very rich, with no damage, just a 

very slight haze at the very right. In full case. [4-] $1500 

Lot 12. 

HAND TO HER CHIN. 

A quintessentially great ambrotype 

portrait, which benefits from the 

rendering of the deep black overblouse 

and hair. The figure with a 

pleasing face seems to stand forward 

from the finely hand-colored background, 

which itself has depth-placing 

the architectural element and 

the vase of flowers forward of the 

lake landscape. Just a superb 

ambrotype! 1/6 plate in oval mat, in 

fine geometric case (Berg 3 -71.) [4] $250 


Preview March 14, 15 & 16. See details on the back cover. 


AMBROTYPES 

Lot 13. PRINCESS OF ST. LOUIS. 

Terrific image of a girl in fur-bordered cape, 

by J. J. Outley, Artist. St. Louis. I have 

admired his daguerreotypes, and now I see 

he has been able to carry his mastery into 

the new format. Again the black on the cape 

and floor give this a special character. The 

girl seems to float forward of the oval mat. 

1/6 plate in perfect example of geometric 

case (Berg 3 - 110.) [4] $250 

Lot 14. SAN FRANCISCO BELLE. 

1/6 plate in oval mat by William Shew, in fine 

condition thermoplastic case, "Child in Tree, 

Farm Scene" (Berg 1 - 93.) [4] $150 

Lot 15. CINDERELLA. 

In contrast to the elegant subjects of the previous 

lots, here is a sweet child charming in 

her plain innocent way. 1/6 plate housed 

beneath convex glass in a wonderful ivory 

frame with incised geometric decoration. 

The image is tight in the frame, with a modern 

paper backing. Lots of dust under the 

glass, and oxidation from the mat around the 

periphery. [2+] $175 

Lot 16. MAN IN SHAWL. 

Unusual feature. Very rich, clean 1/6 plate 

[4] in interesting "Game of Chess" thermoplastic 

case (Berg 1 - 123.) Case has just 

slight sense of wear, no chips. $150 

Lot 17. JUST A CASE. 

As long as there are so many thermoplastic 

cases around here, I might as well slip in this 

fine mint example of the desirable 1/2 plate 

"Washington Monument with Seraphs and 

Eagles Border" (Berg 1 - 35.) Velvet pad and 

liner, but no image or glass. (Other lots with 

collectable cases are Lots 12 - 14, 16 and 18.) 

[4] $500

TINTYPES 

Lot 18. FLAG. 

Two soldiers hold their swords downwards, their eyes almost 

closed. Nice camp scene backdrop with U.S. flag, attractive color. 

1/4 plate in scarce geometric case (Berg 3-19.) Image is [3], but 

the case has some roughness at the edges. $350 

Lot 19. A TINTYPE SIGN. 

This uncased 1/9 plate shows a framed display of tintypes, which 

must have been set up in front of the artist's studio. A large central 

portrait is likely the photographer himself. In the corners are 

scenic images. The lower ones can be clearly seen under magnification. 

The lower left image is a school or other public building. 

The lower right appears to be a town street along a canal. 

Corners are neatly clipped. [2] $600 


Lot 20. PAIR OF OCCUPATIONALS. 

a) Stovepipe makers. The man at right has a giant cutter and hammer. 

The one at left sits astride a stovepipe assembly with a smaller 

cutter and mallet. b) Tinsmiths. One holds the curved metal sheet, 

the other cuts it-- he has a tool pouch under his arm. Both are [3] 

$375 

Lot 21. BROOKLYN HOMESTEAD. 

Oversize (8" x 10") plate. Lovely rural house, fence, wintry trees, 

plank sidewalk in front. An accompanying boudoir shows the same 

house, probably on the same day (and correcting the tintype's rightto-left 

reversal.) It has a pencil inscription on the verso, "L. Magan 

[?] New Utrecht L.I." -- this became part of Brooklyn. The tintype 

has some soft bends and a few scuffs. [D2+] $300

SEE LOT 63 for a group of CDV and Cabinet Cards 

from Texas/Mexico border region. 

Lot 22. ILLINOIS INFANTRY. 

Sharp, rich vignette portrait. He has an oval object on his chest, maybe a medal. 

No maker indicated. Pen inscription (not period) on verso reads Reuben 

Laurence. Reuben E. Laurence mustered into "G" Company of the 129 Illinois 

infantry. They guarded the railroad from Bowling Green Kentucky to Gallatin 

Tennessee in 1862-63, and fought in the Atlanta campaign. [3+] $100 

Lot 23. PAIR OF SOLDIERS, 

with their swords, other accoutrements. By Whitehurst's Gallery, Washington. 

[3] $75 

Lot 24. POOR WOLF, BY MORROW. 

This is a significant rare early 1870's outdoor portrait of the Hidatsa Head 

Chief. He wears a feathered bustle, as an officer of the Grass Dance social 

organization. The Hidatsas had recently purchased the songs and rights to perform 

the ceremony from the Ojibwas of Turtle Mountain N.D. for 600 horses 

and other valuable items. The Hidatsas later sold the rights to the Crows in 

Montana, as well as to the Assiniboins. According to Mike Cowdrey, who has 

supplied this information, Poor Wolf is wearing over his shoulders a "court 

jester" shirt" of a type previously known only from Hidatsa drawings now in the 

Southwest Museum. This photograph shows how such a garment looked when 

worn. Poor Wolf carries a knife-blade war club, and the portrait shows other 

significant details of clothing and grooming. This CDV, with Morrow's oval 

stamp on the verso, is uniformly light, but is a major contribution to the understanding 

of Indian culture in this period. [2] $300 

Lot 25. BARNUM AND TOM THUMB. 

Blue-lined borders on this uncommon CDV. No maker indicated. [3] $125 

Lot 26. "DASH AND I" 

written in pencil beneath, with date July 1866. Inscribed on verso "To Gordon 

Huntington." No maker indicated. Fine double portrait of the pipe smoking 

hunter and his dog. Hat on the table. Little wedge of surface cut at lower right 

edge, a minor defect in the original production of this charming image. Just a little 

light. [D3] $75 

Lot 27. CONNECTICUT BUTTERFLY. 

Wonderful hand-colored image of a woman in a butterfly or moth costume. No 

imprint, but the orange 3-cent Interrev. stamp on verso is signed by V. Buel, 

who was a photographer in Norwalk, Connecticut. [3+] $300 

Lot 28. N.H. PHOTOGRAPHER'S CARD. 

A cartoon of a photographer with camera photographing a bawling baby as the 

parents and brother watch. The photographer's head is a real photographic 

image. The manuscript imprinted text is "Baby's pictures taken in Tip Top Style" 

and then is signed in ink by J. P. Piper. Piper 

had a studio in Manchester N.H. and the 

"Tip Top Style" might be a play on the Tip 

Top House atop Mt. Washington. [3] $225 

Lot 29. IN JERSEY CITY. 

Long building. Kids sit in front, and child sits 

in a carriage with a black man holding the 

horse. A little light. by Alfred J. Walls. [3-] 

$65 


CARTES DE VISITE

STEREOVIEWS 

Lot 30. VERY EARLY RUSSIA. 

Nine rare calotype views on square-cornered 

tan mounts. The views, with 

diagonal cut corners, are placed in 

embossed recesses in gilt-edged "frames" 

on the mount. Titles are written in 

French beneath the views and on the 

verso. All but one have the oval blindstamp 

of the maker, Zuccamaglio, in 

Moscow. This at last clarifies the maker 

of these interesting views, one or two of which turn up from 

time to time. Subjects are Petroskoi Palace [with great stereo 

towers-- these are "hyperstereoscopic," having a slightly exaggerated 

space as from a very wide angle lens], Tower of Ivan the 

Great, Porte Rouge, the Soucharewich tower, the Pashkov 

Palace, the Kremlin (2), Porte Sainte, the Grand Theater. [3] 

$775 

Lot 31. PRETTY EARLY MOSCOW. 

On a slightly more often seen mount, with a "Voyage in Russie" 

label on the verso. This is No. 49, "Couvent de l'Ascension." 

Also hyperstereoscopic. [3] $25 

Lot 32. INITIATION. 

One young woman rests her head on another's lap, while others 

lay hands on her. They are all dressed in similar quaint 

costumes. Brightly hand-colored, on a square-cornered yellow 

mount. "Amerikansk Leg" written in pen beneath, which 

confirms that this is a U.S. view. [3+] $100 

Lot 33. THE PIONEER POTATO PLANTER. 

Unique advertising view with information in pen on the 

verso. The machines are numbered in pen on the left view. 

"These machines make the furrow, cut and drop the potatoes 

and a fertilizer. and cover them at one operation. They 

are perfectly reliable, simple, and cheap. No. 1 does not 

drop a fertilizer. It saves the work of four men. No. 2 drops 

a fertilizer with the potatoes, and saves the work of twenty 

men." The company-- that little house in the background-- is 

in Benton, Maine. On a green mount. [2+] $100 


Some are illustrated here by only one side. 

Lot 34. CHINESE EMBASSY CROSSING CABLE. 

New Bridge Niagara. This is C. Bierstadt's No. 676. 3 Chinese men sit on the small platform that was 

used in construction. On orange/lavender mount. [3] $75 

Lot 35. 8 VIEWS BRADFORD, ILLINOIS. 

Sometimes material can be found in stereo view format that is 

unavailable any other way, and from time to time there is a 

need to make it available. This set, with hand-written pencil 

notations on the verso by someone whose grandfather owned 

a hardware store there, may be the only surviving record from 

that era. These were made using a single camera [there are 

blurry figures in one view which don't appear in the other] and 

are sometimes faded and soiled. There are four good street 

views with signs, including a Furniture and Coffin establishment, 

2 of the railroad station, a school.... [that one is bent 

between the views.] I'd say 5 of the 8 are are decent [2]. $50

The web site shows full scans. STEREO VIEWS 

Lot 36. A HANGING. 

No identification on this large yellow mount, 

1880's. A scaffold has been erected on the back 

porch of what is probably a court or prison, as we 

can make out bars on the windows. Steps lead up 

to the platform from which the hanged person 

drops. The body with its velvet-trimmed collar can 

be seen. The crowd is surprisingly close and intimate-- 

someone seems to hold the arm of the 

hanged man. Mount corners have been trimmed 

slightly. [2+] $600 

Lot 37. "PLACER MINING IN FRENCH CREEK." 

That is the crude pencil inscription on the back of this large orange/lavender mount with the imprint of 

Justus Fey, City Gallery, Deadwood, D.T. ( haven't found any reference to this photographer. Mautz's 

"Biographies of Western Photographers" lists a Pius Fey in Texas-- Pius sounds like Justus's brother.) 

Rich view of workers in a mountain flume. [4-] $150 

Lot 38. "DIFFERENT VIEW 

OF HILL CITY." 

Also by Justus Fey. Small community of log 

cabins, corral, horses, men. [3+] $150 

Lot 39. 

"BOARDING HOUSE 

CAVE PROMONTORY." 

On mustard Rocky Mountain Scenery mount, by A. J. Russell, N.Y. with imprinted list on verso. The 

underlined No. 240, "Maj. Russell's Bedroom, Uintas" is crossed out, and the correct title written in 

pen. Deep stereo look into the cave, with figure discernible in back. Promontory Point was where the 

rail lines from East and West were joined. [3] $125 

Lot 40. "GOVERNMENT SCHOOL FOR PAWNEE INDIANS." 

Rich print on square-cornered yellow/white mount, with title 

and "530" written in pen on verso. This is a view by John 

Carbutt, but that is not his numbering. [3+] $225 

Lot 41. 

INDIAN CAMP. 

Two Indians in mid distance, right. Numerous tents spread out in back. Buff mount with no maker 

indicated, "Colorado" in pen on verso. Slightly light. [2+] $50 

page 11 | BE-HOLD | 914.423.5806

STEREO VIEWS 

Lot 42. MINERS PROSPECTING - "STRUCK IT RICH." 

No. 114 in Thurlow's Colorado Views on large 

gray mount. High in the mountains, 2 prospectors 

with their gear. The one at right has a pipe 

in his mouth. The one at left [Thurlow?] could 

almost be lighting a match for him-- thus the 

play of the title. [3+] $125 

Lot 43. "LEADVILLE FROM 

CALIFORNIA GULCH." 

This is No. 186 by Thurlow. Trestle at right. 

The town is spread out in back. [3] $75 

Lot 44. "SHAFT OF MINES 

'LITTLE PITTSBURG' AND 'LITTLE CHIEF.'" 

Someone has added in pen "next to the Gambetta." This is No. 194 by Thurlow. Men 

working, lumber. This isn't placer mining-- looks like the miners descended into these 

treacherous shafts. Little Pittsburg was the operation that started Horace Tabor on the 

way to his fortune. [3-] $85 

Lot 45. "MINING SCENE QUARTZ HILL 

NEAR CENTRAL COLO." 

Pencil inscription on verso of this large yellow/tan 

mount by Duhem Brothers, Denver. A closer view of 

the kind of mine shaft shown in the previous lot. The wagon in back, right has a sign for "Views." It is the 

photographer's wagon. He would have brought views to sell, as well as his photographic equipment (and it 

would have served as his darkroom.) [3-] $90 

Lot 46. "MALAKOFF DIGGINGS. North 

Bloomfield, Gravel Mining Company, 

Nevada." Green mount looks like a Savage mount, but 

there is a white label over the entire back, covering the 

imprint, and another smaller label with the title and number 

33. Classic close view of the spraying apparatus. Small break 

in sky, left image. [D3] $225 

Lot 47. "SUMMIT TUNNEL BEFORE COMPLETION.” This is A. A. Hart's No. 

197, on a gold "Scenes in the Sierra Nevada Mountains" mount. There was a brief time when 

the sun could illuminate the tunnel in progress, allowing the "header" -- the still blocked end- 

- to be seen. For a discussion of construction details see Kibbey, "The Railroad Photographs 

of Alfred A. Hart, Artist," pp. 25-33. Some wear to the right side of the mount just enters the 

extreme upper rt. corner. [D3] $75 

Lot 48. 

OVERVIEW OF TRUCKEE. 

Orange/lavender mount by H. K. Gage, Truckee, Cal. [3] $175 

Lot 49. THE OLD MANSION HOUSE AND MISSION 

DOLORES. No. 194 by Thomas Houseworth, on orange/lavender 

mount. Looking across the muddy area in front, with reflection. Good 

tones, but some soil, and mount shows wear. [3-] $125 


Lot 50. CONVEYING LUMBER TO THE COAST, 

in a Flume, Point Arrina, Mendocino County. No 1299 on a yellow/gray mount published 

by John. P. Soule, Boston. The man standing on the flume may be the 

photographer M. M. Hazeltine, whose views were published by Soule. [3] $175 


STEREO VIEWS 

Lot 51. 1869 MECHANICS INSTITUTE FAIR. 

First of a group of unmounted stereo halves by Lawrence & Houseworth and 

Thomas Houseworth & Co. The standard reference on these firms is by Peter Palmquist (available from the National Stereoscopic 

Association.) Houseworth produced albums, "Pacific Coast Scenery," using stereo halves (see Palmquist pp. 41-42, illustrations pp. 40 and 

118.) These lots came from a collection of never-mounted prints which included some larger albumen prints (See Lots 90, 91.) In recent 

years they had been stored in non-archival plastic sleeves which contributed to a slight overall yellowing. I have chosen the most rare subjects 

to present here. 

This lot includes the display of mammoth plate landscape views which were first displayed at the 1864 Mechanics Institute Fair. Houseworth 

had the exclusive right to photograph at the 1869 fair. Although presented here as by Houseworth, they are by C. L. Weed. See Palmquist 

p. 16 for a Weed view of Mirror Lake which can be seen in the display, and was in the present collection as a smaller print, contained here 

as part of Lot 91. We can also see stereo views displayed in the case. There are 5 additional views of the fair exhibits, 2 of which are not 

arched, 3 3/8" x 3 3/4" rectangles -- the others are arched. Include an exterior view and several of sculpture and art displays. 6 prints in all. 

[3-] $250 

Lot 52. MINING. From this Houseworth collection, a group of 8 unmounted stereo halves pertaining to mining. One, "Interior of the 

Dump Box-- Columbia" is shown as half of a stereo pair in the "Pacific Coast Scenery" album, Palmquist p. 40. Good views of the works, 

and overview of mining towns and mines, including "Imperial." [3] $275

STEREO VIEWS 

Lot 53. RAILROAD. 4 unmounted prints from the Houseworth collection. 

Includes stage pulled up to the train stopped at "Tentday" [best I can decipher] 

Pacific Railroad Depot. Plus side view of the Commissary Car of the "Gem," 

plus a sleeping car interior, and group on excursion car crossing a bridge. [3-] 

$175 

Lot 54. SHIP. 4 from the collection of unmounted Houseworth views. 4 

great ship construction views, some very rare. [3-] $175 


Lot 55. INDIANS. 3 from this Houseworth collection 

collection of unmounted views. Includes "Washoe Indians, 

Lake Tahoe" [Palmquist, p. 24], and two others, including a 

great one of 3 children, the one at the right just a dark blur. 

[3-] $150 

Lot 56. CHINESE. Final 3 from the album of unmounted 

views. Includes government official, who appears in the 

upper left print in Palmquist p. 188. Plus larger 3 3/4" x 3 1/4" 

arched print of a student-- includes the statue which appears 

in the lower right print in Palmquist p. 118, plus an even larger, 

cabinet size print 5 1/4" x 3 5/8", of a student. [3] $150

(Cabinet cards are 6 1/2" x 4 1/4", "Boudoir" cards are 8 1/2" x 5 1/4", "Imperial" 

mounts are even larger.) This section also includes a few photographic postcards. 

More can be found in the next section. 

Lot 57. UTAH MINING ENGINEERS. 

Cabinet by C. R. Savage. Seated man at left has hat in his lap, leather 

case on floor. Central standing man holds rock hammer. Seated 

man at right has rifle. They have interesting trousers. They are 

identified in red pen on verso as J. T. Powell, T. M. Blossoms, 

Mineralogist & Assayer, and W. T. Boardman, U.S. Mineral 

Surveyor Engineer, all from the Baldwin Exploring & Mining 

Company, 1873. Minor creases at 3 edges. [D3-] $500 

Lot 58. CAPTAIN JACK AGAIN. 

An autographed Cabinet of this adventurous 

personage was Lot 55 in BE-HOLD 38 

(sold for $1200.) This is a fine profile with 

medals on his jacket, by A. E. Rinehart, 

Denver. It is autographed beneath, and 

dedicated on the verso to John. A. 

Helfshingstine, with best wishes of the 

Rigonal [original].... Ft. Craig N. M. Feb 16 '85." Crawford served in the Civil War, 

became a scout, and had a career as a poet. [4] $1200 

Lot 59. LOST BIRD AND GENERAL COLBY. 

Imperial by Taylor, Beatrice, Nebraska. A narrative is inscribed in pen on the dark 

green back (making it difficult to read) by General Colby, and signed and dated by 

him in Washington in 1895. Said to have been given by him to Gov. John F. Brown, 

chief of the Seminole Nation, and passed down in the family to the consignor. The 

brief account is that there were a few Lakota Indian babies found alive amid the icy 

scene of carnage after the Massacre at Wounded Knee, and this baby, said to be the 

only one who lived, was adopted by General L. W. Colby, Civil War veteran and 

head of the Nebraska National Guard. A student at the University of Wisconsin, he 

married Clara Bewick, who was in the first graduating class of women at Wisconsin. 

She was active in women's causes, a friend of Susan B. Anthony and Elizabeth Cady Stanton. Colby became 

Assistant Attorney General under Benjamin Harrison. 

Colby left Clara for a governess who had borne his 

child, so Clara brought up the adopted Indian baby 

(named Zintka) herself. Zintka had a troubled childhood, 

with special difficulty integrating her Indian 

identity with her white surroundings-- she ran away 

to try to find her Lakota relatives, then joined the 

Buffalo Bill Wild West Show (Buffalo Bill had been a 

close friend of Colby's), then moved to San Francisco, 

where she spoke on Suffrage with her mother at the 

1915 Pan American exposition, eventually dying there 

in poverty. [I strongly recommend the South Dakota 

Public Broadcasting site which has a fascinating interview 

with Renee Sansom Flood (www.sdpb.org/TV/ 

lostbird/reneesansomflood.htm) that gives much 

more information than my too-sketchy note indicates. 

There can hardly be a more central photograph that 

intertwines so many significant themes of the second 

half of the 19th Century that BE-HOLD has presented 

over the years-- the Civil War, Indian/white 

relations, the development of the "Wild West" shows, 

women's issues, etc. [3] $1000 


CABINET CARDS, 

etc.

CABINET CARDS, etc. 

Lot 60. SNEFFEL'S BRIDGE, Ungapahgre Canon, Ouray, Colorado. Rich vertical 

boudoir. [3+] $45 

Lot 61. BERG'S CABIN, ALASKA. 4 guys roughing it. Imprinted back indicates 

this was photographed by Dall DeWeese, published by Bernard DeWeese, Canon City, 

Colorado. [3+] $150 

Lot 62. RODEO POST CARDS. Two by Doubleday. "Dick Langley Leaving 

Sundance" and "'Blue Devil' shows his heels." Both are rather amazing action shots. [3] 

$50 


Lot 63. TEXAS/MEXICO BORDER REGION. Rich archive of materials pertaining 

to one Eduardo Cruz. There are 35 CDV's and 27 Cabinet Cards, almost all by identified studios, all but a few precisely dated from the 

1880's and endorsed to Senor Cruz, in Spanish or English. A significant image is from the studio of T. K. Hamilton, Laredo, showing the photographic 

retoucher of the studio, with various examples of his work, a camera on the floor, endorsed by the subject. Another, from the 

same studio and setting, shows two young men playing chess. There is an early CDV showing Cruz in a small albumen oval, and 8 more cabinet 

and boudoir portraits of him individually or with others. Makers include Louis de Planque, Corpus Christi TX; Jose R. Mendéz, 

Matamoras; T. K. Hamilton, Larado; and even scarcer makers such as M. Rodriguez Perez, Eagle Pass, TX; La Grange, Monterey, Mexico; 

Wilson y Demmon, Valla Lerdo, Mexico; Barr, San Antonio; and J. Villarcal, Laredo. Condition is uniformly clean, and the captions are all 

legible. The dating gives a good record of the chronology of the various backmarks. We can even see how the same studio would modify 

its backmark for Mexican or American consumption. While "Cruz" is a very common name, through the other names it could be possible 

to trace biographical details of this person whose connections are so well recorded. [3+] $2500 

Lot 64. SANTA BARBARA 

EARTHQUAKE, 1925. 

Ten interesting photo postcards of 

the damage caused by this rarely 

seen disaster. Hotel Californian, 

Arlington Hotel, Pythian Building 

and Van Ness Hotel, Grand Hotel, 

Potter Theatre, San Marcos Building, 

Church of our Lady of Sorrow, 

Knights of Pythias Hall, County Jail, 

Power Plant. With postcard backs, 

but not sent. [3] $150 

Lot 65. SANDOW, 

by Harwick Brooke, Manchester (his father-in-law.) Has photographer's blindstamp as well as 

imprinted credit. Rare fine full-standing pose. [3] $300 


CABINET CARDS, etc.


Lot 66. 

RUSSIAN WRESTLING TEAMS 

INCLUDING BLACK WRESTLERS. 

In the first decade of the 20th Century Saint Petersburg 

was second only to Paris as a center of world "Greco- 

Roman" wrestling. The sport was developed there 

primarily under the direction of Professor Lebedev, and 

the matches took place as part of the circus. These teams 

appear to have been hospitable to black athletes from N. 

Africa, the Caribbean and the U.S. This is a very rare group 

of 5 team photographs ca. 1906 - 1910, which include black 

athletes, printed as photo postcards. a) Close view of 10 

wrestlers. In the front, right, is Jack Lewis, a black boxer 

from the U.S. who also had a wrestling career-- his athletic 

career was almost entirely in Europe, and photographs 

of him are extremely rare. Corners bent [D2-] b) Group 

of 18 which includes Mourzouk, Frank Bienkowski (known 

as "Cyclops,") Goerge Lurich, Ladisalaus Pytlasinsky, 

German Champion Michael Hitzer, Pyotor Fyedotovich 

Krylov ("King of the Dumbells,") Alexander Aberg, 

Michaelov, Kara Ahmed from Turkey, Gustav Vahar, 

Maisuradze, Constant Le Marin. I give these names so 

enthusiasts of historic wrestling can understand the importance 

of this material. [3] c) An important photograph 

probably made ca. 1910 in Professor Lebedev's gymnasium, 

in which everyone is identified in Russian beneath (names 

can be provided.) [3] Another outdoor group of Professor 

Lebedev's team in 1909 [3-], and a large group posed in a 

vaulted room with photographs on the wall behind [3-] 

Individual portraits of some of the black athletes are in the 

following lots. $1000 

Lot 67. HADJI MOURZOUK. 

Eight photo postcards of the most famous of the black 

wrestlers, from Africa. One shows him with 12 medals on 

his jersey, 2 show him seated and standing in his native 

garb. The rest show him posing in sport attire. [3-], [3] 

$1000 

Lot 68. BAMBOOLA. 

2 good portraits, one knees-up, one full standing. [3] Plus a copy photo. Photo postcards. $250 


Lot 69. 

AMALYU BOUDEN. 

2 imposing portraits, full standing, in 

his native attire. [3+] Plus one waistup 

athletic pose. [3-] $300 

Lot 70. WILLIE CHEZY 

[I'm transliterating the Russian] The 

wrestler from the West Indies, in 

one waist-up athletic pose [3] and 

one with an animal skin. This last one 

has some soil. [2] $225 

Lot 71. ZEEP, from Martinique. Waist-up, arms crossed. [3-] $150 

Lot 72. ANGLIO. The Russian inscription on top says "Anglio -- Negro." 

Full standing, with sash. [3-] $150 

Lot 73. RUSSIAN JEWISH COMPANIONS. 

Cabinet by B. M. Shlapoberski, Correspondent of "Paris Illustrated," from Orsha, a 

town in Byelorussia. In this rustic studio setting, two young men pose holding newspapers, 

with a book on the ground. One 

holds a cigarette in the hand around the 

other's shoulder. The Hebrew title of 

the newspaper is dark enough to read. It 

is "Ha-Meliz" ("The Advocate"), the 

Hebrew paper in Russia, started in 

Odessa in 1860, moved to St. 

Petersburg in 1871 where it continued 

to 1904. Written in pen on the verso, 

dated May 1898, is a letter in archaic 

sophisticated Hebrew, as befits a student: 

"My dear father, Please accept my 

present -- the daguerreotype [sic] you 

can see before you. If you want to see 

only my image, please direct your glance 

to the right; but if you are ready to view 

my choice and to also know my companion 

and friend, then direct your glance to the left, and see my companion Briker. Your loving 

and respectful son, Mordecai Ribkin." This is, in other words, not only a rare document of Russian 

Jewish culture at the end of the 19th Century, but is also a highly unusual filial avowal of male friendship 

in this era. [Thanks to Carmen Oszi of the Institute for Research of the Jewish Press, Tel Aviv 

University, for information and translation.] Light wear and soil to mount. [2+] $600 


CABINET CARDS, etc.


Lot 74. 1905 POGROM 

IN VITEBSK, RUSSIA. 

7 scenes on one print-- wounded in hospital, 

dead bodies, mourning. Period pen 

inscription in Russian on verso, by 

Rabinowitz. Extremely rare subject. These 

pogroms figured in the early Revolutions 

of that year. Tack holes, bend in upper left 

corner. [D3-] $500 

Lot 75. TOUGH GUYS 

FROM RHODE ISLAND. 

Man at left has umbrella, cigarette. Man at 

right holds a small pistol. By G. Bousquet, 

Woonsocket. I'll bet a newspaper search 

would reveal the story behind this. [The 

umbrella is as much of a meaningful detail 

as the pistol.] [3] $150 


Lot 76. 

HURDY GURDY BOY. 

By A. Honey & Co., England. [3+] $150 

Lot 77. CHAMPION SKATER. Set of 4 cabinet cards by Feeley, NY. The 

skater in velvet suit with medals shows positions. The pom-pom at knee level 

would make his leg movements more visible. [3+] $500 

Lot 78. SUMMIT OF MT. MONADNOCK, JUNE 1902. A beautiful 

posing of the figures. Some identification in pen on verso. Boudoir by J. A. French, 

Keene, N.H. [4-] $100

Lot 79. IRISH PEASANTS. A pair of albumen prints from 

County Cork. 5 3/4" x 8 1/4" on album page, family in front of earthen hovel-- these were the conditions 

that brought so many Irish to the U.S. And 8 3/8" x 5 3/4" "Irish Peasant." Possibly by the Scottish photographer 

James Valentine. Both clean with slight edge fade. [3-] $250 

Lot 80. CHIEF HOLLOW HORN BEAR, BY RINEHART. 

9 1/4 x 7 3/4" platinum print. Rinehart's 1898 copyright, title and number 

in the negative. Attractive slightly peachy tone to the paper. Handsome 

3/4 profile of the Brulé Sioux Chief. His portrait is on the 1922 14 cent 

U.S. postage stamp. Slight fold in upper corners and vertical mark just to 

left of right edge are hardly visible. Has rich attractive presence. [D3+] 

$500 

Lot 81. 

HELTICK BLACK BIRD/ 

OMAHA. 

9" x 7" platinum print, No. 349 by 

Heyn & Co., Omaha, C. 1899. Very 

similar to Rinehart's work. Print is 

exquisitely hand colored. The mount 

has holes punched for a ring binder; 

the holes enter into the right edge of 

the print, but are masked by the 

modern mat. [D4] $1500 

See back cover. 

Lot 82. 

MAYGOGAP (SHOSHONE). 

9 3/8" x 7 1/2" brown-toned matte gelatin silver print by J. E. 

Stimson, Cheyenne, Wyo., his No. 131 Copyright 1900. Titled and 

credited in the negative. Stimson was the official photographer for 

the U.P.R.R. in Cheyenne. Some repairs at very top. [D3] $600 


PHOTOGRAPHIC 

PRINTS

PHOTOGRAPHIC PRINTS 

Lot 83. "THINKING OVER THE PAST." 10" x 8" brown-toned matte gelatin 

silver print. Signed Pennington and the word "Navajo" in the negative. Title in calligraphic 

pencil on verso, with stamp for "The Pennington Studio/Durango Colorado" on verso. 

Just a beautiful print. [4] $900 

Lot 84. 

"BEFORE THE DANCE." 

15 1/2" x 11" brown-toned matte gelatin 

silver print by Carl Moon, with 

"Copyright 1908 by Fred Harvey" 

blindstamp in lower right. This was 

one year after Moon became Art 

Director for Harvey and moved to El 

Tovar. The magnificent print shows 

one of Moon's favorite motifs-- see 

for example "The Love Song -- Taos, 

New Mexico. 1914" ("In Search of the 

Wild Indian," p. 83.) [4] $5000 

Lot 85. "THE FEAST" HOPI INDIAN/ ARIZONA, 

by Roland Reed, ca. 1910. 10" x 8" mount with embossed frame area containing 5 

7/8" x 3 7/8" platinum print. "c. Reed" written in pencil on the mount, and title and 

Reed's signature on verso. Fine composition and lovely soft tones. [4] $1200 

Lot 86. 2nd TEXAS U.S. VOL. INFANTRY 

Album, L. M. Openheimer, Col. Commanding. Leather album with title tooled in 

gold on cover. Contains 17 heavy album pages, with a 7 1/2" x 9 1/2" print mounted 

on the recto of each page. Photographer is P. J. Coates of the Florida East Coast 

Studio, Jacksonville. Includes Col. Openheimer, mounted in camp; the officers, 

seated and standing; the 

band; wide view of the horses 

and wagons; and groups 

of troops with their arms-one 

shows a seated black boy and a standing black man. These look 

like albumen prints, mostly very rich. An unusual object from the 

Spanish-American War period, whose historical significance is being 

more widely understood, and enhanced by the fullness of the coverage 

and the Texas connection. Pages still bound but spine is 

missing. No damage to prints. 3 of them are [3], the rest [4]. 

$2000 


View items and bid online at www.be-hold.com. 

Lot 87. JACK RABBIT KILL. 

Three 5 7/8" x 7 3/4" card mounted albumen prints copyright 1892 by F. H. Stiffler & Co., Fresno, California. This was 

the first generation after the intense cultivation of the great Central Valley, and the rampant proliferation of these cropdevouring 

animals threatened the livelihoods of the farmers. Huge roundups and slaughter of the animals were facts of 

life for the population. These powerful photographs reveal the many dimensions of the activity-- the huge scale, the many 

emotions in the faces of the participants, the sadistic sport aspect etc. Print tones are good; mounts are worn with some 

broken corners. [3] $300 

Lot 88. BURNED ALIVE. 

2 1/4" x 3 3/8" albumen print mounted with manuscript 

caption on a later 5 1/2" x 8" sheet. "Photo of a colored 

gentleman burned alive - Paris, Texas. Taken following 

morning. Fire put out by sheriff at 9 P.M." Print is somewhat 

light and worn, some bends in upper corners. 

[D2-] $300 

Lot 89. POOL HALL. 

5 1/8" x 7" toned print on black mount. Wonderful 

depiction of a lowdown pool hall with the down-andout 

Western characters at the bar. The interior space 

is beautifully rendered. With the rise of "vernacular" 

photographer as a hot collectible category, there has 

probably been too much attention on the snapshot at 

the expense of the great treasures of more formal 

anonymous photographs such as this. Some areas of 

slight roughness. [2] $125 


PHOTOGRAPHIC PRINTS


Lot 91. 

YOSEMITE AND BIG TREES. 

5 unmounted albumen prints, from the collection 

of Houseworth material, from originals 

by C. L. Weed. Highlight is an 8 1/2" x 6 5/8" 

print looking through a forest, with several 

visitors. Just slight discoloration at top edge. 

[3+] Plus four more, similar size, some slight 

fade and light foxing. Those would be [3-] 

$375 


Lot 90. NIAGARA. 

Pair of 5 3/8" x 7 5/8" unmounted albumen prints, found in the collection 

of Houseworth material (Lots 51 - 56 plus the next lot.) Rich 

print looking across to city [3+] plus view from Table Rock, just a 

little lighter [3]. Possibly these are from negatives by J. J. Reilly, who 

was located at Niagara before moving to California, and who had 

some connection with Houseworth as employee and later competitor. 

There were stereo halves from Niagara in the collection. $175 

Lot 92. SAN FRANCISCO BAY VESSEL. 

Beautiful 7 1/8" x 9 1/4" matte print (platinum?) in original mat and 

frame, by Swadley, San Francisco, with photographer's name 

embossed, and lovely pictorial label applied to the backing paper. 

There's a shield design on the smoke stack. The ship is passing a ferry 

which is seen at the right edge. [3+] $225

Lot 96. TRUMAN CAMPAIGN WHISTLE STOP. 

13 7/8" x 9 1/4" gelatin silver print by Thomas McAvoy for LIFE. Collection stamp for Stefan 

Lorant Collection. Great image of the pre-Televion campaign. Radio microphones plugged into 

electrical outlets on the train. The person at left is a photographer, and we see shadows of others 

at the bottom. A reporter kneels on the ground typing his report on a portable typewriter. 

[4] $750 

Lot 93. BAGGAGE INSPECTION. 

From the Leipzig Press Bureau comes this pre-WW II 4 1/4" x 5 5/8" toned silver print. 

The American inventor watches as a large X-ray device is used to scan luggage for contraband. 

This is the granddaddy of the modern airport machine which has taken on 

such added importance recently. Various stamps and notations on verso. [3-] $135 

Lot 94. EARLY TV SET. 

Nice juxtaposition of the face of the 27-year-old inventor Philo Farnsworth and the 

woman's on the cathode tube. Not only an image from the history of technology, but 

also of portraiture. 8" x 10" Acme Press photograph from 1934, with stamps and credit 

sheet. [3-] $65 

Lot 95. THE JUMPER. 

Exciting 1930 8" x 10" toned silver print. Endorsed "To Murray the best Marker I ever 

Had... M. J. Lucky Jack Marrell..." Slight fade and soil near edges. [2+] $150 

Lot 97. 

POINT OF ORDER! 

7 1/8" x 8 1/4" gelatin silver press 

photograph, with United Press 

stamp on verso, original caption 

attached. This was the characteristic 

call of Senator Joseph 

McCarthy at the 1954 Senate 

Army investigation. The infamous 

council Roy Cohen is beside him. 

Look how he holds his pencil. 

[3+] $300 


PHOTOGRAPHIC PRINTS

PHOTOGRAPHIC PRINTS View items and bid online at www.be-hold.com. 

Lot 98. GEORGE JOWETT. 

8 3/8" x 5 3/4" toned gelatin silver print. 

Endorsed "to my friend & coworker Joseph 

Lambert from Geo. F. Jowett, President 

A.C.W.L.A." That was the American 

Continental Weightlifting Association, forerunner 

to the AAU. Pencil inscription on verso is 

probably from Lambert: "From my president 

The A.C.W.L.A. 10th Feb 1926 Philadelphia.... " 

Jowett had active roles in many U.S. strength 

publications. [3+] $250 

Lot 99. K. V. IYER. 

Fine 8" x 6" gelatin silver print, endorsed in pen 

lower right to "Mr. Gerard Nissivoccia" on 

5.5.34. [4] $225 

Lot 101. LIEUTENANT COMMANDER JACK DEMPSEY. 

7" x 5" toned gelatin silver print by Apeda, NY. Imprinted on verso is a list of 

7 rules given to the participants at the Physical Training Course at the Coast 

Guard Training Station at Manhattan Beach. "Remember we have but one 

aim, and that is to win this war, and by keeping yourself in condition, the job 

will be finished that much sooner." The photograph is boldly signed in the 

center by Dempsey, and then signed by 30 or more participants of the 

course. [3] $3000 

Lot 100. JERRY ROCCO, BY LON. 

14" x 11" brown tone nude study, with title and "Lon/NYC" in pencil on verso. [4-] $300 


Lot 102. 

JOE LOUIS, 

BY CARL VAN VECHTEN. 

10" x 8" toned gelatin silver print by Carl Van 

Vechten, with his permission stamp and pencil 

markings on verso. Beautiful portrait, outdoors 

(at training camp?), with geometric elements. 

[3+] $1350 

Lot 103. MUHAMMAD ALI. 

10" x 8" color print on Agfa Quality Print paper, 

late 1960's. Boldly signed by Ali on print. [4] 

$300 

Lot 104. BABE RUTH CHOOSES A BAT. 

10" x 8" toned gelatin silver print by Acme Newspictures, from 1926. A practice session; the stands 

are empty. Small figure at upper right. Nice light and composition. Left corners of margin torn. [3-] 

$150 



Lot 105. LOU GEHRIG. 

Pair of 10" x 8" toned gelatin silver prints by Acme News, 1929. Both have same blue 

caption paper attached-- "Watch your laurels, Babe! Lou's getting Speedy." Gehrig, as 

Yankee 1st baseman, has tied Babe with 24 homers. Good views of his stance at practice. 

[3-] [3] $300


Lot 109. NUDE (MARTHA LORBER), 

by Nickolas Muray. 10" x 8" brown-toned matte silver 

print, with Muray's embossed stamp, signed and 

dated 1925 by him on verso of mount. Lorber 

appeared in Ziegfield Follies of 1922 and 1924. This 

is a fine "artist's study" of her oiled body, kneeling 

with hands behind her back, against a geometric textured 

backdrop. The print is full frame (showing the 

edges of the negative.) [3+] $750 

Lot 110. 

STANDING NUDE 

(MARTHA LORBER). 

Another pose by Nickolas Muray, against a dramatically 

lit textured background. Same size as 

previous, with embossed stamp and signed on 

verso. Slight "silvering" outside mat view area. [3+] 

$750 

Lot 108. MALES BY CHAMPION. Twelve 

5" x 3 1/2" color prints from the early 1960's by this 

interesting photographer. All are signed by W. 

Kundzicz/Champion, and have various stamped and 

manuscript notations, such as "Test Print" and 

"Connoisseur Set." Models include Jim Stryker, 

Dick Stark, Bob Schaft, Joe Wild, Walt Covert, 

Gordon Britt, Rob Roye. These have a uniquely 

"funky" quality, enhanced by the period color, that 

distinguishes them from the more solemn formal 

character of slightly earlier male erotic photographs. 

[3+] $1000 


Lot 106. SICILIAN YOUTH. 

6 1/4" x 9" albumen print by Von Gloeden, on heavy 

board mount. The albumen print is mounted on the present 

mount, obscuring the information on the verso of the 

original print, but there is no question about the maker 

or period of this print. Indeed this is one of the great 

ones, with wonderful smiling faces arranged in conjunction 

with the classical statue. Later owner's information in 

red pen on verso. [4-] $1500 

Lot 107. MALE STUDY. 

6 1/2" x 4 5/8" reddish-brown print on textured paper. A 

beautiful study of a seated male. Pencil identification on 

verso is hard to decipher. Looks like "Otto Gysald... 

Rodin." The connection with Rodin is intriguing, but I 

haven't been able to come up with any clear identification. 

Maybe you can. In any case. a wonderful print. [4-] 

$750

Lot 112. LA PAREE, 

by Manassé. Signed by the 

Vienna studio in the negative. 

Title (meaning "The 

adorned or bejeweled 

woman") stamped in red 

on verso, along with Manassé stamp, other stamps, dated 1933. 

6 1/2" x 8 1/2" gelatin silver print is just a super example of the 

opulent decadence of this place and era. Manassé was a husband 

and wife team who specialized in this material. [3+] $1250 

Lot 111. 

STANDING NUDE, ARM EXTENDED (MARTHA LORBER). 

Final one in this Nikolas Muray group, with embossed stamp, signed and dated. See 

Lot 133 for a great NYC scene by this artist. $750 

Lot 113. YOUNG NUDE, 

by d'Ora/Benda. 8 3/4" x 6 1/4" toned gelatin silver 

print, signed in the negative. Green label on verso for 

"d'Ora, Wien, Arthur Benda" as well as various copyright 

stamps and date 1933. Another nice Viennese 

bon bon, given an interesting sociological dimension 

by the attached original caption in English, from which 

I must quote: "Nature has modeled this little girl LIKE 

AN INDIAN" [emphasis added.] [3+] $400 

Lot 114. SMILING NUDE. 

Carte postale size, but no imprint. "PN" logo in lower 

left, and some notations which enhance it. Matte 

print looks like platinum. [4] $225 

Lot 115. 

WOMAN IN KIMONO, 

by Clarence White. 8 1/2" x 3 5/8" platinum print. 

Her head is tilted, the parasol is angled nicely-- a 

wonderful composition for the unusual vertical format 

sometimes favored by White and some others 

from the Photo Secession. Not signed. [4] $4000 


PHOTOGRAPHIC PRINTS


Lot 118. ANDRE GIDE, by Halsman. A profile companion to the frontal portrait 

offered in BE-HOLD 38 [sold for $1500.] This is a vintage 1934 15 3/8" x 11 7/8" toned 

matte silver print on heavy paper. Original period "Photo by Halsman" back stamp covered 

(but visible) by overlay of additional backing paper which has been titled, signed and dated, 

and stamped with later copyright stamp. Gide was a central figure in French literary and cultural 

life from the late 19th century through the middle of the 20th. Nobel Prize for 

literature 1947. [3+] $1200 

Lot 116. KOZINTZEVA, 

by André Kertész. She was a painter, and wife of the important Russian/Soviet writer and 

intellectual Ilya Ehrenburg. Signed by Kertész in blue on verso and dated 1929. 9 3/8" x 7" 

toned gelatin silver print. A wonderful Russian face. Upper right corner neatly torn on 

diagonal, edges slightly frayed. [D3+] $2000 

Lot 117. 

CHAGALL, 

BY LOTTE JACOBI. 

5 7/8" x 4 3/8" matte gelatin silver print 

on heavy paper. The artist in his Paris studio. 

Vintage print ca, 1940 from the Jacobi 

archive. [4] $1000 

Lot 120. ETHEL WATERS, 

by Carl Van Vechten. 10" x 8" gelatin silver 

print, with photographer's embossed 

stamp, reproduction notice on verso, and 

pencil notation. Bright vibrant portrait of 

the great singer and actress. [4] $750 


Lot 119. MARY McCARTHY, by Halsman. 

9 5/8" x 7 5/8" vintage gelatin silver print 1942-43. 

Signed in white pen on print, with early "Photo by 

Halsman" stamp, credit stamp, and his W. 72nd St. 

address stamp on verso. The woman of letters is 

given something of a movie star treatment. [4] $750

Lot 121. ETHEL WATERS, when she was in "Cabin in the Sky," by Carl van Vechten. 10" 

x 6 5/8" gelatin silver print, embossed stamp, reproduction notice, pencil notation and pen inscription 

on verso. A warm intimate portrait. [4-] $750 

Lot 123. 

BILLIE HOLIDAY. 

10" x 8" matte silver print by Nasib, NY, with their logo in the negative and credit stamp on 

verso. [4-] $250 

Lot 124. LESTER YOUNG, 

by Herman Leonard. "Prez." The great saxophonist, Billie Holiday's great love. They made 

beautiful music together. 7 7/8" x 11 5/8" gelatin silver print, boldly titled and signed on verso 

by Leonard, with hand written Reproduction warning. This inscription is centered so I'm 

thinking maybe the radical cropping at top and bottom is intentional. [4] $175 

Lot 125. SEATED MAN, SOUTH CAROLINA, 

by Doris Ulmann. 7 7/8" x 6" platinum print, signed on the 

mount. Vintage 1920's. Beautiful portrait of this black workman, 

maybe a gardener, with wonderful play of shadows. [4-] 

$2500 



Lot 122. ETHEL WATERS. 

Photo postcard by Carl van Vechten, with his embossed stamp. 

Smiling profile against textured background. [4-] $400


Lot 126. "DEN OF THE TERRIBLE NINE" 

by Lewis Hine. 4 5/8" x 6 5/8" vintage gelatin silver print. Stamp on 

verso for the Hine Photo Company, Yonkers, NY, with other notations. 

Includes photocopy of label, dated Hartford Conn. March 

1909: "8:00 P.M. Flashlight photo of messengers absorbed in their 

usual Poker game in the 'Den of the Terrible Nine' (the waiting room 

for Wes. Union Messengers, Hartford, Conn.). They play for money. 

some lose a whole month's wages in a day and then are afraid to go 

home." [original label not part of 

this Lot.] "Flashlight" here means 

a horizontal bar of explosive 

powder. Hine has won the confidence 

of these messengers who 

have cooperated in this photographic 

work. [3+] $4000 

Lot 127. "BOY CRYING," early W. Eugene Smith. Vintage 13 1/4" x 10 1/4" toned gelatin silver 

print, with "Credit W. Eugene Smith from BLACK STAR" stamp, date 12/22/38 and title in pen in Smith's 

hand, as well as technical note "Ikaflex II 1/250 at f.16 speedflash camera." Smith worked for Black Star in 

1938-39, before becoming a staff photographer for LIFE. Vintage prints from this era are extremely rare 

on the market. 2 years before this picture was made and titled, Smith, at the age of 18, was in a hospital 

giving blood transfusions to his father who was dying as a suicide. Here, to the left of the boy's head, we 

can see the names of House Staff doctors-- this is a hospital scene. I can't help but see a significant autobiographical 

reference in this picture. Print is very rich, with some roughness at edges and near top. [D4] 

$1500 

Lot 128. MIGRANT CAMP, 

by Dorothea Lange. Vintage 8" x 10" toned gelatin silver print, ca. 1936, with 

Resettlement Administration stamps and numbers on verso. Also pen manuscript 

caption: "Part of a roadside ranch camp, twelve tents in this group. 

Owned by one of the large growers who is strongly opposed to Resettlements/ 

Kern County Migrant Camp." A car and truck. The clouds give this a great emotional 

character. [4] $3000 

Lot 129. FRAMED, 

by Dorothea Lange. Vintage 7 1/4 x 10 1/8" gelatin silver print, dry mounted. 

Early California development, seen with the hills behind, beneath the sign. A 

modernist sensibility not often associated with Lange. [4] $2500 

Lot 130. 

DOGGIE DINER, 

by Dorothea Lange. Vintage 10" x 8" gelatin silver print, with 7 1/2" x 7 3/4" image 

area. Two F.S.A. credit stamps on verso, inventory number in pencil, and typed caption 

"On U.S. 99 as it continues through Oregon Land County, Willamette Valley 

Oregon Oct 1939." Sign between front paws announces $5,000 reward. [4] $1800 


Lot 131. CIGAR STORE INDIAN, 

MANCHESTER NEW HAMPSHIRE, 

by Carl Mydans. 10" x 8" vintage toned gelatin silver print with two F.S.A. credit 

stamps and pencil inventory number on verso. The proprietor mimics the 

stance of the Cigar Store Indian. Vintage F.S.A. prints by Mydans are scarce. [4] 

$600 

Lot 132. 

LOWER MANHATTAN WITH EMPIRE STATE BUILDING, 

by Berenice Abbott. Wonderful vintage 10" x 8" matte brown-toned gelatin silver 

print, signed by Abbott on the mat, early 1930's. The great art deco Chrysler 

Building was completed in 1930, the Empire State Building in 1931. This is a view 

from the Chrysler building, not long 

after the completion of the Empire 

State. This was such a glorious period 

in the architectural development 

of the city! [4] $4000 

Lot 133. NYC SCENE, by Nikolas Muray. Brilliant 9" x 6 

3/4" vintage brown-toned matte gelatin silver print, signed by 

Muray in white pen and dated '32. I've never seen another NYC 

scene with this character. See lots 109 - 111 for other prints by 

this interesting and possibly under-rated artist. [4] $1650 

Lot 134. LOWER MANHATTAN, ca. 1930. 

Vintage 10" x 8" toned silver print. No photographer's 

credit. Pencil inscription verso: "U. S. Steel's 

Bldg./ dark building just beyond the spire of Trinity 

Church = 71 Broadway, building in which U.S. Steel 

has offices." Among the many things to admire in this 

image are the way the smaller spires on top of Trinity 

Church stand out against the sun-struck roof. [4] 

$1500 


YONKERS IN 

THE HISTORY 

OF PHOTOGRAPHY. 

Aside from Hine's 

residence and work here, 

Rudolph Eickemeier 

spent his entire life a few 

blocks from the current 

world headquarters of 

BE-HOLD, Inc. 

In an earlier time, 

John Draper, 

credited with having 

made the first portrait 

daguerreotype in the U.S., 

lived just over 

the northern border in 

Hastings-on-Hudson. 

A bit farther north 

is the domain of 

Washington Irving and the 

"Hudson River School" 

painters. 

About a mile South 

is the top of NYC.


Lot 135. "SUBWAY ENTRANCE" by Wendell MacRae. 10" x 8" vintage gelatin silver 

print, with MacRae's stamp on verso, his signature, and pen inscribed "reserved" 1980. I believe 

this inscription was added later, for the print is clearly a vintage earlier print. I trust you can 

see what a terrific picture this is. I'd be glad to discuss it with you. [4] $1500 

Lot 136. HARLEM SCENE. 

Vintage 5" x 7" gelatin silver print. 

Not just a great storefront, a la 

Berenice Abbott, but a wonderful 

interaction between the store 

employee and the customer. Some 

wrinkles from bends. [D3+] $400 

Lot 137. FIRST PLANE LANDING IN MEXICO. 

8" x 10" gelatin silver print, with date inscriptions in pen on the print: " XII-IX- 

MCMXV111" (1918) and "III-IV-MCMXIX" (1919.) In a field with a volcano behind, 

the local people gather around. Minor wrinkles. [3] $500 

Lot 138. "POPOCATEPETL." 

13 1/4" x 10 3/8" vintage brown-toned matte 

silver print by Hugo Brehm, signed by Brehme 

on mount, "Mexico, D.T." One of the best and 

best-condition vintage Brehme prints available. 

[4] $1750 

Lot 139. "CATCH" 

by Katy Martin. 19" x 13" Inkjet photographic print, using Lysonic E ink on 21 5/8" x 15 1/2" 

sheet of Somerset Enhanced paper, 1999-2000. No. 3 of an edition of 3. I'm happy to end this 

sale with a work in a contemporary medium. (See Lot 8 for an almost contemporary 

daguerreotype.) The NYC artist applies paint directly to her skin, photographs it and digitally 

prints it. The result is a unique kind of portrait that is situated in photography, yet has to do 

with painting and printing. Martin's Super-8 film HANAFUDA, dealing with Jasper Johns making 

silk screen prints, has been honored in the world of super-8 film and is a recognized major 

reference documenting Johns' working methods. She worked as a painter from 1981-1995 and 

has been combining painting and photography since then. [4] $1400 See cover. 


BE-HOLD Catalog 39 

We have been getting some very strong consignments. 

You too can take advantage of our efforts on your behalf— contact us soon! 

EXPLANATIONS & PROCEDURES: 

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BE-HOLD does not charge a “Buyer’s Premium.” 

All bids must be in multiples of $5, and at LEAST at the listed Minimum Bid level. Higher 

amounts will be bid for you up to that level, only if needed to top other bids received. 

Bids will increase by a schedule of increments: 

• Below $100 the increment is $5 

• Between $100 and $1000, the increment is 10% of the “hundreds” — that is, between 

$300 and $400 it is 10% of $300, or $30. Between $400 and $500 it is $40, etc. 

• $1000 or above the increment is $100 

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E-MAIL, OR ONLINE ON OUR WEB SITE. (Instructions for online bidding can be 

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You must have placed bids BEFORE the deadline of 9:00 P.M. (Eastern) April 4th. If you have 

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bid on, and even change to other lots, for example if you have been out-bid on something you 

have been pursuing. (This is an advantage of this type of auction over a live auction that proceeds 

in lot order.) 

Once ten minutes have elapsed without a bid, the auction is over. Our aim is to sell the lots 

to the person willing to bid the most in an orderly manner. Many lots are won by people submitting 

high bids well before the final days. If someone else wants a lot you are pursuing, you 

will just have to outbid that person. 

We are proud of our condition ratings, which are supplemented by the catalog text, the illustrations, 

the color scans on the site, and by direct viewing. These ratings give you a basis to 

evaluate the condition. 

• All material with actual damage to the surface (not to the mount) will have a prefix “D”, 

as in [D3] In a few cases where the damage does not affect normal viewing it will be 

mentioned but the Prefix will not be given. 

• Material that was originally well produced and has been preserved in that condition will 

have a grade of [4]. We do not use this catagory lightly. 

• Material that was a little less fine to begin with, but still has an attractive presence and no 

distracting problems, will have a grade of [3] 

• Typical collectable material with some fading, minor wear and soil (but no actual damage) 

will be graded [2]. 

Particular factors will be mentioned in the text. A “plus” or “minus” will sometimes be used 

to indicate which end of the condition range is applicable. 

I encourage you to inquire about any details of the sale or material that need further explanation, 

but please do so well before the closing period. 

PAYMENT: 

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the current issue. 

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receipt of invoice. 

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Be •hold 

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 

PREVIEW IN NYC 

Thursday, March 14, 1:00 pm - 10:00 pm 

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Saturday, March 16, 9:00 am - Noon 

PLAZA 5O HOTEL 

50th Street and 3rd Avenue 

Hotel Phone 212.751.5710 

Additional Preview by Appointment 

Lot 81 

BIDDING DEADLINE: Thursday, April 4, 2002 9PM (Eastern Time)

BE-HOLD 39

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