July/Aug 2019 edition Issue #6 AutoMobilia Resource Magazine Written by Dale LaFollette When I first began writing these columns I knew that at some point I had to write about photographs of land speed record cars as they have been a passion of mine for many years, but I ran into a slight problem, once I started looking through my collection I found there were enough images for at least four columns! So, I had to force myself to pick my absolute favorites to write about. Campbell, Eyston, Cobb and Segrave didn’t make the cut, sorry! Maybe in a future column. The first photo is of the “Torpedo Kid”, an electric streamline car built by the Walter Baker of the Baker Motor Vehicle Co. of Cleveland, Ohio. The “Kid” was built from the remains of an earlier Baker record car, the “Torpedo”, which had crashed. The “Torpedo Kid” ran at Daytona Beach in 1904. The number 999 was not a take on Henry Ford’s No. 999, but rather the license number issued by the State of Ohio for the car. I love the fact that the “Kid” is riding on the back of a Baker electric truck, much like modern teams do today. An electric land speed record car that accomplished very little probably is the least desirable photo here. I think that it should sell at $100-$250, but at auction with two eager buyers who really, really want it…. I have seen images of this quality sell for over $1,000. The next photo is of Parry Thomas’ “Babs” at Pendine Sands in 1926 where he set a world record time of just over 170 mph for the mile. Thomas built “Babs” himself by extensively modifying the Higham Special which he bought from the estate of Count Zborowski. If I remember correctly, I obtained this photo about twenty years ago with about a half-dozen others of Thomas and “Babs”, but this one really grabbed me because of all the action of both mechanics and spectators in the attempt to push him off. This photograph went directly to my collection, while the others were sold. The only downside is that you can’t see Parry behind the wheel in this image which might detract from the value. On the other hand, people love the story of Parry Thomas and “Babs”, so I would expect much interest in this photo all the way up to $400-$500. The last photo here I consider Art Photography. It is of the car that MG built in 1938 for record breaking purposes. It was to be driven by A.T. “Goldie” Gardner who is sitting in the cockpit speaking to Lord Nuffield, a principal of MG Motors. Gardner used several different engines to set records with this car in various classes clear into the late 1940s. While looking at this photograph, consider the interesting angle that it was taken at. Notice the texture of the pavement and how the scoring of pavement at the top of the photo enhances the image with each corner of the photo naturally dark. Finally see how the drain cover at lower left balances the whole composition. You might think that the photographer just got one lucky shot, but I don’t believe that. This anonymous photographer knew what he or she was doing from the placement of the car and the angle of the photograph to the interaction between Gardner and Nuffield. To read more great columns like this one from automotive photography expert Dale LaFollette...
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He looks like a miniature, but in reality, is full size… just standing at the top of the banking in the distance. It reminded me of the photo-collage images from avant-garde photographers in the 1930s so it seemed appropriate that I should add it to my collection. When I have shown it to people, some question my sanity, others just hope I didn’t pay too much for it. But I bought it for me, I have owned it for several years and I still enjoy it! |
I especially love photographs that someone took the time to write on so here is Caracciola (again) in a Mercedes-Benz (again) in 1929 at the Shelsley Walsh hillclimb. A satisfyingly sharp image by an anonymous spectator. One minor problem historically though, I can find record of Caracciola at Shelsley Walsh in 1930 but I have yet to find a listing for him there in 1929. So, was the date on the photo incorrect or did he race there in both years? I believe the answer is the photographer wrote on it in later years and just got it wrong, as I am sure the correct date is 1930. |
The final snapshot here is of Pierre Marco in a Type 32 Bugatti “Tank” racing in the 1923 French Grand Prix. What stands out about this photograph is the fact that it was taken with a camera which had a vertical focal plane shutter, thus the wheels are elliptical and even the body of the car has a more aggressive stance than it did in reality adding to the cartoonish nature of the image. The riding mechanic completes the look by bending over out of the wind to help the streamline effect. |
Dale LaFollette
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Issue #3 AutoMobilia Resource Magazine
Dale LaFollette

I especially like the Nuvolari photograph of him sitting in the Vanderbilt Cup in 1936, I am sure the photographers in attendance asked him to do that, as he was small in stature, but when he did so, only one photographer got the perfect shot. The other photos I have seen of this moment were taken from in front of the car, or partially blocked by the crowd around the car, so the photos just don’t measure up.
There are several photos in books and magazines taken within seconds of my Bernd Rosemeyer portrait from the 1937 event, but this one stands out as the Vanderbilt Cup is quite evident, and Rosemeyer himself has a very enthusiastic smile.
The race photo was taken right after the start in 1937, Rosemeyer’s Auto Union is leading Caracciola’s Mercedes-Benz, a lead that he never relinquished. These three photos would range in price from $75 to $400.

As an example of scarcity, I have handled thousands of photos in the last 25 years, and while these races have been covered by many books and magazine articles, I have never seen either of the two portraits anywhere. The racing scene has appeared in two books that I know of, but in severely cropped condition.
This scarcity is pretty common amongst news photographs, and is something that I have a hard time understanding. Where did they all go? You would think with a popular event like the Vanderbilt Cup, photographs would have been sent to all major newspapers. Yet, with all the photographs I have had and sold over the years, I don’t think I have seen three dozen repeat images of any subject.
I am like all dealers of collectable items, I would love to have some of the photos back that I sold. Of course, that is my collector side talking, I remember my dealer side was quite happy to sell at the time.
Dale LaFollette
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Issue #2 AutoMobilia Resource Magazine
Dale LaFollette
Even galleries and museums have a hard time accurately describing what the term “vintage” means when applied to photography. I have read long dissertations on the subject by very knowledgeable people that come to the conclusion that if a photograph is printed by the photographer on or about the time that is was taken, then it is vintage. The word “about” is the problem. To cover the “about” I have read that the photograph needed to be printed within 10% of the ensuing years. In other words, if the scene depicted in the photograph happened 100 years ago, then the photograph needed to be printed at least 90 years ago to be called vintage. But there is no hard, fast rule, it is buyer beware.
Issue #1 AutoMobilia Resource Magazine
Dale LaFollette

As I entered further into the subject, I concluded there needed to be some rules or this whole collecting thing would soon be out of control. I wanted real vintage photographs that were well taken and printed by the photographer, images that would hold up over time. While not always possible, I wanted to strive for images that were of important moments historically, but most of all I did not want to end up with thousands of photographs I only owned because they were available cheaply.
The photograph above is a prime example of a well taken image. The photographer was elevated enough to take in the whole scene which gives us a wonderful sense of place. You can just feel the excitement in the crowd as Leonce Girardot guides his CGV to a stop, probably to have his route book stamped. There are men and women eagerly standing on a fence to get a better view. There is even an artist in front of the crowd at left making a sketch of the scene.
Adding to the value of the photograph, the photographer has described the event (The Circuit des Ardennes) and driver, noting the year (1903). He even put his own name (Martinez) on the image face. While the print is not in pristine condition, the splotches, lines and general wear give it historical importance, an artifact, that is still here telling its story one hundred and fifteen years later.

Much of racing photography consists of images of cars on racetracks winning, losing or crashing. But at its heart the love of motorsport revolved around the drivers, their histories and personalities.
We love the driver who consistently overcomes odds to win important races and there is no better example than driver, Tazio Nuvolari. While I prefer to have a car in the image, I do love photographs of my favorite drivers too, and when I find both driver and car in a well taken photo that’s my home run. The photograph of Nuvolari at right together with Raymond Sommer standing on the Alfa Romeo they used to win the Le Mans 24 Hour Race in 1933. It is a press photo meant to be used in a newspaper, and is stamped on the back as such. While I have several images of Nuvolari in my collection, this one is my current favorite, as I have always loved Alfas of this era, and Le Mans is a race of such epic proportions that it creates heroes.
I bought this Nuvolari photograph from a gallery in Paris that had an enormous price on it. I dithered over if for several weeks then made an offer that I knew they would bump up a little but which I was glad to pay. We came to my predicted agreement and I was able to purchase it for my personal collection. Because the Nuvolari name is still so recognizable, this is a very marketable image that could fetch between $300 and $600.

Citroen made ‘Sahara’ 2CVs that were four wheel drive, with a second engine in the rear so this must be one of them, as there is little other reason for the co-driver to be on the rear bumper and it does look like the rear wheels are spraying sand. Or he could be there just to make a rather humorous photograph!
Vintage images of this quality are still avaiable on eBay in the $10 to $50 range although it takes time to find them. But then the hunt is almost as much fun as the acquisition, isn’t it?
Dale LaFollette
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Vintage Auto Photography
Dale LaFollette, the owner of Vintage Motorphoto, specializes in rare and collectable original racing photographs. Explore his knowledge in this column.
dale@vintagemotorphoto.com
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