Recent Catalog Results

Lot 1	9900	Lot 35		Lot 69		Lot 103	1300	Lot 137	50	Lot 171	40*
Lot 2	490	Lot 36	110	Lot 70		Lot 104	155	Lot 138		Lot 172
Lot 3		Lot 37		Lot 71		Lot 105	225*	Lot 139		Lot 173	450
Lot 4		Lot 38		Lot 72		Lot 106	425	Lot 140		Lot 174
Lot 5	580	Lot 39	350*	Lot 73		Lot 107		Lot 141		Lot 175	1000
Lot 6		Lot 40		Lot 74		Lot 108	55	Lot 142	175	Lot 176
Lot 7		Lot 41	125	Lot 75	45	Lot 109	50	Lot 143	50	Lot 177	550
Lot 8	250	Lot 42	110	Lot 76	770	Lot 110	65	Lot 144		Lot 178	515
Lot 9		Lot 43	185	Lot 77	150	Lot 111	150	Lot 145	2500*	Lot 179	300
		Lot 44	140	Lot 78		Lot 112		Lot 146	350	Lot 180	720
Lot 11	125	Lot 45	550	Lot 79		Lot 113		Lot 147		Lot 181	600
Lot 12	145*	Lot 46		Lot 80		Lot 114	100	Lot 148	250	Lot 182	150
Lot 13	145	Lot 47	400	Lot 81		Lot 115		Lot 149	290	Lot 183	600
Lot 14	245	Lot 48		Lot 82	250*	Lot 116		Lot 150	175	Lot 184	600
Lot 15	285	Lot 49	85*	Lot 83	370	Lot 117		Lot 151	385	Lot 185
Lot 16	175	Lot 50	375	Lot 84		Lot 118	125	Lot 152	380	Lot 186
Lot 17	75*	Lot 51		Lot 85	150	Lot 119	260	Lot 153		Lot 187
Lot 18		Lot 52	285	Lot 86	250	Lot 120	350	Lot 154	150	Lot 188	135
Lot 19		Lot 53		Lot 87		Lot 121	150	Lot 155		Lot 189
Lot 20		Lot 54	660	Lot 88	300	Lot 122	300	Lot 156		Lot 190
Lot 21	60*	Lot 55	330	Lot 89	110	Lot 123	720	Lot 157		Lot 191
Lot 22		Lot 56		Lot 90		Lot 124	750	Lot 158		Lot 192	1000
Lot 23	160	Lot 57	180	Lot 91		Lot 125	250*	Lot 159		Lot 193
Lot 24		Lot 58	110	Lot 92	155	Lot 126	425	Lot 160	225	Lot 194
Lot 25	285	Lot 59		Lot 93		Lot 127		Lot 161	150	Lot 195
Lot 26		Lot 60	75	Lot 94		Lot 128	90	Lot 162	90	Lot 196	45
Lot 27		Lot 61		Lot 95		Lot 129	65	Lot 163	600	Lot 197	50
Lot 28	4000	Lot 62	175	Lot 96	350	Lot 130		Lot 164	400	Lot 198	125
Lot 29	3500	Lot 63	125	Lot 97	400	Lot 131		Lot 165		Lot 199
Lot 30	600	Lot 64		Lot 98		Lot 132		Lot 166	425	Lot 200	1500
Lot 31		Lot 65		Lot 99	65	Lot 133	690	Lot 167	270	Lot 201	90
Lot 32	100	Lot 66		Lot 100	75	Lot 134	100	Lot 168	300	Lot 202
Lot 33		Lot 67		Lot 101	360	Lot 135		Lot 169		Lot 203
Lot 34		Lot 68		Lot 102	450	Lot 136		Lot 170		Lot 204	330

Lots with no prices are still available at the listed minimum.
*Asterisk indicates a post-auction sale.
For several weeks we will post these sales on our website.

The Catalog
This catalog represents a continued development for BE-HOLD. Every lot has something of interest, and the format is clear and attractive, as appropriate to the material. In this period of relative scarcity of fine material, and intense competition between sales venues (internet auctions, "major" live auctions, specialty catalogs), BE-HOLD has a significant position. The multiple focus on art and photographic history as well as social and historical subject matter puts the offerings in a context that is widely appreciated. BE-HOLD has an enviable reputation for honest presentation and dealing. Subscribers include major private and institutional collectors. You're invited to offer fine material that is appropriate to this venue. We will be considering consignments for the Spring catalog through January.

Auction Report
The exquisite daguerreotype of Lot 1 shows a woman at the melodeon --a precursor of the parlor organ, with foot pedals operating the bellows.

Bill Gillespie did some intelligent sleuthing on Lot 29. He checked the roster of Company H. 108 USCI, and found that there were 100 black soldiers, of whom 9 were named John, but only one was a sergeant, and his middle initial was "W." This was John W. Roberts, who enlisted 7/27/64 at Louisville, KY. Checking against the inscription on the back of the carte, I could now see it says "Rober" --maybe how he pronounced his name. Bill also corrected the name of the subject of Lot 32. It's "Greely," not "Greeley." The 10th LA Colored Infantry, later part of the 48th USCI, was not involved in the battle for Atlanta, but did fight at the siege of Fort Blakely. I thought I had found an interesting Australian photograph, but Michael Proud of the National Library of Australia informed me that the Eurdyice of Lot 63 was an English training ship which sank off the Isle of Wight in 1876, with the loss of 330 lives. The only connection with Australia was the photographer or publisher. Ellen Rardin thinks the doll arrangement of Lot 55 might have been the work of Lucy Cleveland, of Boston --a folk artist and abolitionist who sold her work at various fairs to support reform movements. Her work is in Peabody Essex Museum in Salem, Mass and in the Shelburne Museum in Vermont. An article on her work appeared in the August "Antiques" magazine. Ellen also pointed out, as had a few others, that the subject of Lot 69 suffers from the rare "birds head dwarfism." The charming sailor actress of Lot 64 is Fanny Herring. The Bernhardt role of Lot 79 was in the feminine "Sorceress" or "Witch" --I just couldn't make the proper French accent in the program I was using. Laurence Senelick, who made these last corrections, also saw that the transposed head of the early collage, Lot 202, was the Compte de Mornay, brother of Napoleon III.
>
Len Walle recognized that Lot 101 was by Bierstadt Brothers, and that Albert Bierstadt based a painting on this scene. Robert Haines noted, in regard to Lot 111, that John Brown rode to the gallows on a coffin. He was placed in another coffin in NYC, so he would not be buried in a Southern one. But he had prepared to be buried in his Grandfather's coffin in N. Elba, NY. That coffin had probably been shipped to the stone carver, to have John's inscription written beneath that of his ancestors, and the views celebrate the re-placement of the coffin with the amended inscription. David Greening has another copy of the Winnebago stereo view, Lot 118. It was taken near Mankato Minnesota by Whitney or Martin. Bob Wilson noted that the Haynes Ojibway view, Lot 121, is from his work in Canada.

The Brady gallery of Lot 145, on 643 Broadway, was the very gallery that Lincoln visited in February 1860. George Gilbert's article was in "The Daguerreian Annual 1993." Daile Kaplan had found another print in Paris in 1998 with a similar label. It was the basis of an article in "The Rail Splitter" by George Sullivan, who showed up at the NYC Preview with a photocopy. (I'm a subscriber and reader, but obviously a victim of information overload, as you must have noticed before.) I believe the object in Lot 145 is the only such FRAME recorded with this label.

David Chapman noted that the subject of Lot 182 was probably one of the French Deriaz brothers --most likely Maurice. The name turned into "Deriatz" when it was Russianized, and I transliterated it back. A few typical slips of the tongs in this high-profile area: Strongfort (Lot 88) was of course Max Unger. W. Kundzicz, who operated as "Champion" (Lot 184) suffered mis-spellings and mis-pronunciations of his name, which I regrettably perpetuated. Glad to correct it here. The typo prize, however, goes to Lot 156, which turned "Bow Valley" into "Big Balley." (Chris Williams.)

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	Presenting photographic surprises for almost 20 years.

Report of Sale Be-Hold Auction 35

Lots with no prices are still available at the listed minimum. *Asterisk indicates a post-auction sale. For several weeks we will post these sales on our website.

The Catalog This catalog represents a continued development for BE-HOLD. Every lot has something of interest, and the format is clear and attractive, as appropriate to the material. In this period of relative scarcity of fine material, and intense competition between sales venues (internet auctions, "major" live auctions, specialty catalogs), BE-HOLD has a significant position. The multiple focus on art and photographic history as well as social and historical subject matter puts the offerings in a context that is widely appreciated. BE-HOLD has an enviable reputation for honest presentation and dealing. Subscribers include major private and institutional collectors. You're invited to offer fine material that is appropriate to this venue. We will be considering consignments for the Spring catalog through January. Auction Report The exquisite daguerreotype of Lot 1 shows a woman at the melodeon --a precursor of the parlor organ, with foot pedals operating the bellows. Bill Gillespie did some intelligent sleuthing on Lot 29. He checked the roster of Company H. 108 USCI, and found that there were 100 black soldiers, of whom 9 were named John, but only one was a sergeant, and his middle initial was "W." This was John W. Roberts, who enlisted 7/27/64 at Louisville, KY. Checking against the inscription on the back of the carte, I could now see it says "Rober" --maybe how he pronounced his name. Bill also corrected the name of the subject of Lot 32. It's "Greely," not "Greeley." The 10th LA Colored Infantry, later part of the 48th USCI, was not involved in the battle for Atlanta, but did fight at the siege of Fort Blakely. I thought I had found an interesting Australian photograph, but Michael Proud of the National Library of Australia informed me that the Eurdyice of Lot 63 was an English training ship which sank off the Isle of Wight in 1876, with the loss of 330 lives. The only connection with Australia was the photographer or publisher. Ellen Rardin thinks the doll arrangement of Lot 55 might have been the work of Lucy Cleveland, of Boston --a folk artist and abolitionist who sold her work at various fairs to support reform movements. Her work is in Peabody Essex Museum in Salem, Mass and in the Shelburne Museum in Vermont. An article on her work appeared in the August "Antiques" magazine. Ellen also pointed out, as had a few others, that the subject of Lot 69 suffers from the rare "birds head dwarfism." The charming sailor actress of Lot 64 is Fanny Herring. The Bernhardt role of Lot 79 was in the feminine "Sorceress" or "Witch" --I just couldn't make the proper French accent in the program I was using. Laurence Senelick, who made these last corrections, also saw that the transposed head of the early collage, Lot 202, was the Compte de Mornay, brother of Napoleon III. > Len Walle recognized that Lot 101 was by Bierstadt Brothers, and that Albert Bierstadt based a painting on this scene. Robert Haines noted, in regard to Lot 111, that John Brown rode to the gallows on a coffin. He was placed in another coffin in NYC, so he would not be buried in a Southern one. But he had prepared to be buried in his Grandfather's coffin in N. Elba, NY. That coffin had probably been shipped to the stone carver, to have John's inscription written beneath that of his ancestors, and the views celebrate the re-placement of the coffin with the amended inscription. David Greening has another copy of the Winnebago stereo view, Lot 118. It was taken near Mankato Minnesota by Whitney or Martin. Bob Wilson noted that the Haynes Ojibway view, Lot 121, is from his work in Canada. The Brady gallery of Lot 145, on 643 Broadway, was the very gallery that Lincoln visited in February 1860. George Gilbert's article was in "The Daguerreian Annual 1993." Daile Kaplan had found another print in Paris in 1998 with a similar label. It was the basis of an article in "The Rail Splitter" by George Sullivan, who showed up at the NYC Preview with a photocopy. (I'm a subscriber and reader, but obviously a victim of information overload, as you must have noticed before.) I believe the object in Lot 145 is the only such FRAME recorded with this label. David Chapman noted that the subject of Lot 182 was probably one of the French Deriaz brothers --most likely Maurice. The name turned into "Deriatz" when it was Russianized, and I transliterated it back. A few typical slips of the tongs in this high-profile area: Strongfort (Lot 88) was of course Max Unger. W. Kundzicz, who operated as "Champion" (Lot 184) suffered mis-spellings and mis-pronunciations of his name, which I regrettably perpetuated. Glad to correct it here. The typo prize, however, goes to Lot 156, which turned "Bow Valley" into "Big Balley." (Chris Williams.)
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