One of the most important photography/Weegee exhibitions opens today April 7, 2017 at Fotografiska in Stockholm.
Many of the photos and many of the captions on the backs of the photos have never been exhibited before…
Brilliant work by Ryan Adams!

More info and photos:

Weegee EXTRA! Weegee

7 April — 28 May, 2017
An exhibition of some 350 photographs taken by the legendary press photographer Arthur Fellig, known as “Weegee”. Here, violent death rubs shoulders with budding love on the intense streets of New York, in a time when the city was almost under siege from the mafia and corruption. Weegee lived in the middle of this chaos, always first on the scene to document the horror and happiness and convey for a press that was constantly craving new scandals and revelations. We present many previous unseen photographs by Weegee accompanied by his laconic description of the often dramatic scenes. The photos were discovered in a forgotten archive, which is a detective story in itself…
The exhibition EXTRA! Weegee at Fotografiska is a historic document, which, given the current situation of organized gang violence and recent revelations of corruption in Sweden, retains its unfortunate topicality. We present a press photographer whose many crime scene photos documented the seamy side of New York in the 1920s, 1930s and 1940s. Born in Ukraine, Arthur (Usher) Fellig (1899-1968), known as “Weegee”, captured, in evocative documentary photographs, the intense street life of a city marked by corruption and organized crime.
Weegee created a strong cult around his charismatic personality and through his images, depicting love, misfortune, entertainment and sudden death, we gain a vivid insight into the turbulent life of the city. With a police radio installed in his car, he constantly followed emergency vehicles on their missions and was first on the scene to take pictures for the newspapers. Remember the newspaper vendors’ cry of “EXTRA, EXTRA”, promising the latest scandals and revelations!
“We are passionate about the history of photography. Weegee’s press images from the 1930s and ’40s New York introduce our visitors to a dramatic time when press photography made an impact as an important source of information. Weegee is a legendary name in crime reporting which he revolutionized with his special ability to create engaging images. If a fire broke out, he photographed the goggle-eyed and terrified onlookers rather than documenting the blaze. The same thing with murder victims or other tragedies – his photographs always make an impression,” Lisa Hydén, exhibition coordinator at Fotografiska, explains.
Weegee’s photographs are accompanied by so-called “slugs”, laconic descriptions of the often dramatic scenes. One such caption reads: “Wife kills policeman in argument over parking car”.
Weegee’s images were collected in a national archive of press material, under the auspices of the Newspaper Enterprise Association (N.E.A.), founded in 1902, that syndicated illustrations, cartoons and features. In 1920, the news agency Acme Newspictures, which focused on press photography, was founded. Over the decades, it amassed a gigantic photo archive, which, after various mergers, sank into oblivion for over 20 years. After some rather peculiar transactions, involving the son of a former employee acquiring the archive, and selling parts of it in 1994, the archive was again forgotten about. However, in 2012 it was discovered in a storage space in the Midwest by the photojournalism expert Ryan Adams, who has written the exhibition texts. Thus, most of the pictures featured in the exhibition have never been exhibited before, and the origin of this unique collection is a detective story in its own right, with Ryan Adams as the protagonist.
In 2012 Adams began the enormous, and ongoing, task of examining all the many boxes containing millions of photographs. The photos only contained brief captions, so-called “slugs”, but no photo credits, which was the custom at the time. Ryan Adams’ detective work, which involved comparing the images in the archive with images of identified photographers and other information, in an attempt to identify the origin of the photos, has led to the discovery of completely unknown photographs by Robert Capa, Margaret Bourke-White – and Weegee.
Ryan Adams describes the process as an important contribution to bring to light a previously unknown story through these snapshots.
“It’s an incredibly exciting feeling to be able to identify a photograph. It is an extremely time-consuming putting together of various pieces of information in order to demonstrate that a picture was taken a particular moment, at a particular place, by a particular photographer. At first, I succeeded in identifying ten unknown Weegee photographs. This number has now grown to more than 350. An important piece of the jigsaw, which we are now able to show in an exhibition for the first time ever, are his so-called “slugs”, the captions Weegee wrote in his distinct style to the newspaper desks with descriptions of the photograph. Weegee was also keen to place himself at the center of the action, often making himself part of the story. Of course, his presence makes the detective work a bit easier,” says Ryan Adams, who continues to explore the archive, searching for new discoveries.
The archive was bought by Daniel Blau (and the rights are owned by the International Center of Photography I.C.P.).

Words from from

Screenshot from

Screenshots from
More info and images:

One of the most important photography/Weegee books will be published in August 2017.

Extra! Weegee
Edited by Daniel Blau
Distributed for Hirmer Publishers
320 pages | 620 color plates | 11 3/4 x 9 1/4
No photographer came close to capturing the sensations, scandals, and catastrophes of 1930s and ’40s New York like Weegee (1899–1968). His striking images—captured through his uncanny ability to be on the spot and ready to shoot when things happened—have become part of the visual vocabulary through which we understand the period. This book, however, offers something new: drawing on an NEA archive that was only discovered in 2012, it presents countless never-before-seen Weegee photos. We see new angles on many of his familiar subjects—from the hardened police officer to the loud-mouthed crook; the midnight boozer
to the dancing jazz musician; a dramatic conflagration to the celebrations at the end of World War II—but we also get a glimpse of an unknown side of Weegee through surprising photographs of happy people enjoying themselves. The works are complemented by a fascinating account of the rediscovery of the archive, which had been missing for decades.

Words and image from

Looking forward to the book!

(Screen shots from auction website.)

“Grace Wilson Vanderbilt At the Met, ca. 1940
Stampa vintage alla gelatina sali d’argento. Timbro del fotografo al verso
cm 34 x 27 (immagine)

Notes: Vintage gelatin silver print. Photographer’s credit stamp on the verso

Starting Bid: €2,000”

Current auction…

Three minute excerpt form “Footlight Varieties,” 1951 (RKO Radio Pictures, Inc.)

(Coincidentally and intriguingly Weegee’s work on a few films, made around 1950, in Hollywood, a few crime photos in “M” and distorted traffic and people in “Footlight Varieties,” were displayed on television, as television, in the films. The new medium of television on the old medium of film; or the old medium/entertainment of vaudeville, and perhaps photography, presented on the new medium/entertainment of film… Experimental film as a source of humor… Weegee the avant-garde-ist and experimental-ist.)
(And the photo he makes as a street photographer in “Every Girl Should be Married” is presented on the front page of a newspaper in the film… Weegee the multi-media-ist…:-)

“After ‘Yellow Cab Man,’ I did trick photography assignments for several films, including ‘Footlight Varieties’ for RKO. That was a series of shorts put together like a revue with Jack Paar as the master of ceremonies. Jack Paar used this film years later when he auditioned for the ‘Tonight’ show at NBC.”
Weegee by Weegee, p. 100

AFI Catalog of Feature Films:

Special Effects: Weegee (Elastic lens eff)
“…Paar discusses the growing influence of television on popular culture, as scenes featuring unusual visual effects are shown on two television sets situated on the stage…”

Release Date: Apr 1951
Premiere Information: San Francisco opening: 21 Mar 1951.
Production Date: began 25 Jul 1950

Summary: From a theater stage, master of ceremonies Jack Paar greets the audience, then introduces radio quartet The Sportsmen, who sing three numbers. Next, Paar discusses the growing influence of television on popular culture, as scenes featuring unusual visual effects are shown on two television sets situated on the stage. Posing as a radio contest emcee, Paar then introduces comedian Red Buttons, who performs a routine about his public school days.
An excerpt from the short film He Forgot to Remember is next: When his wife Vivian catches him jitterbugging with a young woman in a nightclub, Leon Errol, who is supposed to be on a fishing trip, feigns amnesia. The next day, a seemingly concerned Vivian insists that Leon be seen at home by Dr. Twitcham. After the doctor concludes that Leon is actually suffering from dementia, a seductive woman named Barbara arrives and informs a startled Leon that she is his wife. Vivian soon discovers Barbara hiding behind her couch, and the two women start to argue, then Vivian suddenly offers to sacrifice Leon to Barbara. Unknown to Leon, Barbara is Dr. Twitcham’s nurse, and both she and the doctor are helping Vivian teach Leon a lesson. Their ruse climaxes when Barbara pretends to shoot Vivian, and two policemen storm in to question Leon. Believing that Vivian is on her deathbed, a contrite Leon finally confesses his deception. Vivian responds by hitting Leon over the head, which results in a genuine case of amnesia.
Back in the theater, dancer Inesita performs a flamenco number. Paar then provides humorous offscreen commentary as excerpts from a 1909 silent film, titled Confidence, or Beautiful Romance of a Nurse , are screened. Next Paar introduces pianist Liberace, who plays a classical piece as well as a boogie number. Jerry Murad’s Harmonicats perform next and are followed by a comic rumba routine featuring Paar and dancer Grace Romanos. In a film excerpt, Buster West, Melissa Mason and several pairs of black jitterbuggers perform a hillbilly-themed dance number. After The Sportsmen sing a final number, Paar bids the audience good night.

Special Effects: Weegee (Elastic lens eff)

Note: The film’s title card reads: “Footlight Varieties A New Musical Revue Including Highlights from RKO Film Hits.” Footlight Varieties was the third and last compilation film released by RKO between 1948 and 1951. The previous two pictures, Variety Time (1948) and Make Mine Laughs (1949), also featured Jack Paar as emcee (see AFI Catalog of Feature Films, 1941-50 ). The Leon Errol excerpt was taken from a 1944 short RKO film entitled He Forgot to Remember . George Bilson produced the short and Hal Yates directed and co-wrote it. Frankie Carle’s “La Paloma” number first appeared in the 1947 RKO short film Carle Comes Calling , directed by Jack Scholl. The silent excerpt was taken from a 1909 American Mutoscope and Biograph Co. short entitled Confidence , directed by D. W. Griffith (see AFI Catalog. Film Beginnings, 1893-1910 ). Some of the actors listed above for Confidence may not have appeared in the excerpt. The number featuring Buster West and Melissa Mason first appeared in the 1938 RKO film Radio City Revels , directed by Ben Stoloff.
According to HR news items and production charts, the following performers were cast in the picture: Red Nichols and his New Orleans jazz band, The Elder Lovelies from Ken Murray’s Blackouts , Pat Hall, Mona Knox, Sue Casey, Blanche Taylor, Suellen Wiere, Spec O’Donnell, Sara Serenado and Wendy Waldron. The appearance of these performers in the final film has not been confirmed.

Cast: Leon Errol (Leon Errol)
The Sportsmen
Jerry Murad’s Harmonicats
Frankie Carle and His Orchestra
Red Buttons
Buster West
Melissa Mason
Grace Romanos
Dorothy Granger (Vivian Errol)
Patti Brill (Barbara)
Emory Parnell
Elaine Riley
Byron Foulger (Dr. Twitcham)
Harry Harvey (Leon’s friend)
Jack Paar (Himself)
Confidence excerpt: Florence Lawrence (Florence)
David Miles
Herbert Yost
Charles Inslee
Arthur Johnson
Owen Moore
Bill Williams

Production Company: RKO Radio Pictures, Inc.
Distribution Company: RKO Radio Pictures, Inc.
Director: Hal Yates (Dir)
Jack Scholl (Dir of “Carle Comes Calling” excerpt)
Ben Stoloff (Dir of “Radio City Revels” excerpt)
D. W. Griffith (Dir of “Confidence” excerpt)
Doran Cox (Asst dir)
Producer: George Bilson (Prod)
Writer: Hal Yates (Leon Errol scr)
Felix Adler (Leon Errol scr)
Photography: J. Roy Hunt (Dir of photog)
Frank Redman (Dir of photog)
Jack MacKenzie (Photog for “Radio City Revels” excerpt)
G. W. Bitzer (Photog for “Confidence” excerpt)
Arthur Marvin (Photog for “Confidence” excerpt)
Art Direction: Walter E. Keller (Art dir)
Film Editor: Edward W. Williams (Film ed)
Jay Whittredge (Film ed)
Music: C. Bakaleinikoff (Mus dir)
Norman Bennett (Mus supv)
Sound: Frank Sarver (Sd tech)
Special Effects: Weegee (Elastic lens eff)
Country: United States
Language: English

“Footlight Varieties,” 1951

“Every Girl Should Be Married,” 1948, The best 10 seconds. (Unfortunately Weegee’s voice was dubbed.)

“Every Girl Should Be Married,” 1948, The best 10 seconds… now 1:23.

“Every Girl Should Be Married,” 1948, The best 10 seconds… now 3:29

“Every Girl Should Be Married,” 1948, The best 10 seconds… now 13:57

(Betsy Drake and Franchot Tone.)

MoMA, October 30, 1950: Steichen reads Weegee’s words: “…So I got tired of fashion and so I went to Hollywood. I’ve appeared in five pictures as a street photographer. The greatest bit of casting since Lassie.” [much laughter and applause]

“I also joined the Screen Actors’ Guild and became an actor. My first part was in the RKO production ‘Every Girl Should Be Married,’ with Cary Grant (with complete wardrobe of sports jackets), Betsy Drake, Franchot Tone, and Diana Lynn. I played the part of a street photographer.”
Weegee by Weegee, p. 101

Screenshot from “M”, 1951 (approx. 33:44)

“In the remake of the old German Peter Lorre classic, ‘M,’ I played a murder suspect…” Weegee by Weegee, p.101

“M”, 1951 (approx. 34:44-51)

Screenshots from M, Directed by Joseph Losey, 1951 (starting approx. 8:05)

A few of the still images, between the “DON’T”s, are (bizarre and incongruous, staged and spooky) Weegee photos…
(A small mystery, finally, solved.)

“1951. March: A remake of the Fritz Lang film M is released with Weegee in the role of a murder suspect.” “Naked Hollywood: Weegee in Los Angeles” p. 125

Seven of the greatest seconds in film history!
Seven seconds of seminal cinema!