(Images from ebay)


US $55.00 – Buy It Now, or Make an Offer



Weegee was the pseudonym of Arthur Fellig, a photographer and photojournalist, known for his stark black and white street photography”

Item specifics:
Original/Reprint: Original Print
Listed By: Dealer or Reseller
Modified Item: No
Region of Origin: US
Date of Creation: 1940-1949
Photo Type: Gelatin Silver
Size Type/Largest Dimension: 5×4
Color: Black & White

(Words copied from ebay.)

It might be “rare,” it might be “stamped,” it might be a photo…
(There are frequently misspellings and bad grammar in fraudulent ebay listings.)
Nevertheless this photo was not made by Weegee…

The New York Times, February 24, 1896

How to House the Poor

“Completed Plans of the Conference to be Held Next Week”

“Building Company May Be Formed”

“Meetings to be Held Afternoons and Evenings – Morning Tours of Inspection.”

“The question of how best to house the poor in the crowded districts of great cities will be discussed in an interesting series of meetings to be held in this city…”

“Will Improved Housing Pay?”- “Moral Aspects of the Question” – “Next Steps Forward,”…

“The meetings will be held in the large audience hall of the United Charities Building, 105 East Twenty-second Street…”

fotograhiska screenshot

[The United Charities Building, 105 East Twenty-second Street, also known as 287 Park Avenue South, built in 1892 or 1893 or 1894, sold for $128 million several years ago, soon, sometime in 2019, will be a “destination for photography.” (“A haven of innovation and free expression.”… “Fotografiska New York will be anything but an ordinary museum, and we look forward to sharing our world-class photography, award-winning culinary experience, innovative academy, and cultural event programming…”… “The Museum of Photography, 281 Park Avenue South, New York.”… fotograhiska.)]

“The party will visit the following places Wednesday morning:
6:30 – Department of Street Cleaning… Col. George Waring” [Waring died eight months later of yellow fever. Waring was a “designer and advocate of sewer systems that keep domestic sewage separate from storm runoff.” wikipedia]
“10 – People’s Bath, 9 Centre Market Place…” [While researching Centre Market Place we stumbled upon this fascinating article.]
“10:30 – Police Headquarters, 300 Mulberry Street, Theodore Roosevelt, President” [Teddy was president of the US from 1901-1909… Police headquarters at 240 Centre St. opened in 1909.]
“12:15 – Tee-To-Tum Club, 346 East Twenty-third Street…”

The New York Times, February 24, 1896

The New York Times, March 11, 1894

A perennial question as posed by The NY Times and addressed by the “Improved Housing Conference” 123 years ago today: “How to House the Poor.”

The Best Art Books of 2018
The Times’s art critics select some of their favorite art books and books related to art of the year.

by Roberta Smith
‘FLASH: THE MAKING OF WEEGEE THE FAMOUS’ By Christopher Bonanos (Henry Holt & Company). By current standards, the street photographer Arthur Fellig, better known as Weegee, might be considered a kind of performance artist: elbowing his way to the front of the more sensational scenes of New York night life, snapping pictures in his indelible noir style and developing them in the trunk of his car — so as to rush his product to the dailies ahead of the pack. His ambition, self-invention and neuroses are all detailed in this sharp biography by Mr. Bonanos, who clearly admires the artist, sees the unsavory aspects of the man and knows old New York as well as anyone too young to have lived through it. (Read the book review.)
NY Times, Dec. 14, 2018, p.C20″


New York Review of Books, December 6, 2018, Volume 65, Number 19, pp.44-45

“Shots in the Dark”
by Edward Kosner

Flash: The Making of Weegee the Famous by Christopher Bonanos
Extra! Weegee: A Collection of 359 Vintage Photographs from 1929–1946 edited by Daniel Blau

Weegee’s people are generally funny-looking and badly dressed. Many of them are murdered—the blood pooling around their heads, some with their ankles oddly crossed as if they are taking a nap in the gutter. Their cars are wrecked, their tenements gutted by fire, their loved ones sobbing in the streets. Even their pets look morose. The rare happy ones are celebrating Hitler’s defeat or stampeding through the lobby of the Roxy Theatre in Times Square to score seats for Jimmy Dorsey’s big-band show. All of the pictures Weegee took with his Speed Graphic camera are in high-contrast black-and-white, like scenes from Orson Welles’s Touch of Evil.

He snapped his mesmerizing photographs in a sweaty frenzy between seventy and eighty years ago. There are two haughty dowagers accosted by a shabbily dressed drunk woman at the opening of the Metropolitan Opera; children sleeping on a fire escape in a slum; a man arrested for cross-dressing grinning and baring his thigh in the back of a paddy wagon; a panoramic mob filling every inch of sand at Coney Island; an anguished mother in a black kerchief staring at the tenement fire in which her daughter and granddaughter are perishing. These familiar images were captured by an immigrant working in the depths of the Depression and wartime for a couple of dollars per newspaper shot. The alchemy of time and evolving taste has transmuted more than a few of them into art.

Weegee was less concerned with art than with fame. “A picture is like a blintz,” he liked to say. “Eat it while it’s hot.” He was so obsessed with celebrity that he proclaimed himself Weegee the Famous when he was no more than a legend in his own mind. When his work and relentless self-promotion finally won him recognition, his photography veered off into idiosyncratic and schlocky tangents. The man whose images were in the permanent collection of the Museum of Modern Art churned out tits-and-ass shots for a pair of men’s magazines called Hi and Ho!, which were each half the width of a regular magazine—the better to hide in a raincoat.

Self-taught and self-propelled, Weegee has a singular place in the pantheon of street photographers that includes such masters as Brassaï, Henri Cartier-Bresson, Berenice Abbott, Robert Frank, Ruth Orkin, and Diane Arbus. Only Arbus routinely used flash, as Weegee did, to capture her menagerie of odd subjects, and none shot with Weegee’s Speed Graphic press camera. His prints were raw, sometimes overexposed, often repetitious. They have none of the austere serenity of Orkin’s pictures of snowy Central Park from her window or the creepy pathos of Arbus’s portrait of the young giant and his tiny parents in their claustrophobic flat or the finesse of Cartier-Bresson. Instead, Weegee’s punks and grotesque car wrecks…

It took two great books to get Weegee into the NY Review of Books

(We would enjoy a David Levine caricature of Weegee… In addition to being great caricaturists, apparently they both shared an affinity towards Coney Island: “Others have possessed this beach: Reginald Marsh, George Bellows, Weegee. But for a long time now it has belonged to David Levine… — Pete Hamill” from davidliveneart.)