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Saving The True Environment of Vintage Racing

4/13/2021

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May/Jun 2021 edition
Issue #16 AutoMobilia Resource Magazine
Dale LaFollette
Giuseppe Farina 1937 Eifelrennen
Race programs and newspapers use tight head shots of racing drivers, but those only show you what the person looks like. Environmental portraiture surrounds people with their activities and their passions, providing deeper insight into who they really are. I’ve chosen a few from my personal collection of vintage photographs as examples to show you what I mean.

The first image is of Giuseppe Farina at the 1937 Eifelrennen, casually leaning against the rear tire of his factory Alfa Romeo 12C. Interestingly, another photographer—or maybe the same one—took a second photo from the front of the vehicle of the two mechanics working on the brakes at about the same time; in the background, you can see Farina still leaning on the tire. That photo recently sold in Germany for €1,309! Personally, I prefer the photo we see here—and I would value it at $400 to $500.
Mike Hawthorn British Grand Prix
The photograph of Mike Hawthorn in front of the Ferrari pits, hands in pockets, pants tucked into socks, at the British Grand Prix in 1956 is an image from Keystone Press. Because of the angle from which the photo was taken, Hawthorn seems to tower over the other people in the frame. He looks like a man destined to become a World Champion—and a man we all would have loved to party with at least once. His skill behind the wheel was beyond reproach when he was on, but there were other days when it just didn’t seem important to him. I would value this photograph at $250 to $300.
Phil Hill
The next photo is of Phil Hill preparing his helmet and goggles for an unknown event. Ever the perfectionist, Hill’s quiet and precise nature comes through in this image. He became America’s first World Champion in 1961. He started his road racing career around 1950, racing until 1967. He survived one of the most dangerous eras in racing, and he did it without a major injury. I would expect this photo to sell at $150 to $200. 
Jim Clark Lotus 33
The photograph of Jim Clark in a Lotus 33 was taken at the German Grand Prix in 1966 by an acquaintance of mine, Jutta Fausel. When I met Fausel in the mid-1990s, she had traveled the world photographing Formula 1 and Formula 2, as well as shooting IndyCar events. I found her a most handsome woman when we met, so I am sure she was a knockout in her early twenties when she took this photograph. As you can see, Clark thought so, too—he gave her a wink just as she pushed the shutter! For a fraction of a second the photographer and her subject made a connection. This photo would be valued between $150 and $200. 
Picture
You may argue with calling the hands-on-a-Dunlop-tire photo a portrait, but look closely and you will see what the hands tell you about the person. We can date the photo by the early Nomex sleeves and the string-back gloves to around 1960 or a few years later. The bits of car we can see tell us that the man is looking at the engine in a rear-engine car, and the condition of the hands tells us that he himself works on the car at times. The photo was taken by Benno Muller, who was famous in racing circles as a portrait photographer, so I would bet that Muller thought of it as a portrait, too. I would estimate the value of this photo at $100 to $150—and I consider it every bit as powerful as the other photographs shown here.
​
Dale LaFollette
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Land Speed Records

8/1/2019

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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.
Walter-Bakers-electric-Torpedo-Kid-1904.jpg
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.
Parry-Thomas-Bab-Pendine-Sands-1926.jpg
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.
Goldie-Gardners-MG-1938.jpg

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Photo Postcards

5/15/2019

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May/June 2019 edition
Issue #5 AutoMobilia Resource Magazine
Dale LaFollette
As a photography collector, you may have overlooked the collectibility of postcards, just as I did for several years. But many postcards are actually 3½”x 5”photos, and are worth a second look as you seek to acquire automotive images.
​
You probably have gone to antique shows and seen large tables full of postcards displayed by sellers that would be considered “generalists;” in other words, they have everything that could be considered a postcard. Look for the seller’s Automobile section to see if there are any treasures there. What you are looking for, are Real Photo Post Cards or RPPC as they are known. To tell that an old postcard is actually a real photograph, look at the dark areas of the card in reflected light. They should have a silver cast to them proving that they are an actual silver image.
Normally these RPPC will be more expensive than the printed or litho cards. Other factors that effect the price are age, subject matter, condition, and rarity. You can find several guides on the internet showing you how to tell the age of postcards by looking at the back of the card. The rarity however, is up to you to solve. You need to consider the fact that manufacturers of photographic paper sold postcard stock to everyone, so anyone with the ability to print a photograph could produce a real photo postcard. The consideration is…. did they print one, or a dozen, or thousands? Photographers rarely print more images than they have a market for, and if you are looking at a very old image, just plain survival is an important factor.
1908 New York Paris Race French Vintage Photograph
RPPC of 1908 New York to Paris Race, the French De Dion entry in Marshalltown, Iowa.
The first image in this article of the French De Dion contesting the New York to Paris race in 1908, was taken by Warren Z. Newton who printed the card, and sold it in early March… the date stamp on the back shows it was mailed from Marshalltown, Iowa, March 13, 1908. The race records show that the De Dion went through Cedar Rapids, Iowa sometime in early March of 1908, with Marshalltown just west of there. So an educated guess, is that the photo was taken in Marshalltown, which could have been the extent of Mr. Newton’s market and limited his print run. Whatever his output, I am sure there are very few surviving 110 years later. I would value this card at $125 to $200.
Count-Louis-Zborowski-in-his-Bugatti-at-the-Indianapolis-500-in-1923Picture
RPPC of Count Louis Zborowski in his Bugatti at the Indianapolis 500 in 1923.
​The next postcard illustrated is of Count Zborowski in his Bugatti at the Indianapolis 500 in 1923. The Indy 500 has been very popular for over a century, so there are literally thousands of event postcards, and photographs out in the world, which depreciates the value considerably. This is not a bad thing, it just means the Indy 500 collector can put together a comprehensive collection for very reasonable cost. I have seen this RPPC for as little as $30.
Picture
RPPC of Léon Théry in a Richard-Brasier at the start of the 1905 Gordon-Bennett Race, which he won.
The last vintage real photo postcard illustrated is of Léon Théry in his Richard-Brasier, the winner of the 1905 Gordon-Bennett Race. This card has rounded corners from wear, a slight bend at lower right and a postage stamp on the face of the card; all of these are conditions that lower the value to a serious postcard collector, but none of it phases me. In fact, all of the above turn this RPPC into an important historic artifact, as it is all just patina. This card would sell in this country for around $75, but could draw a much higher price in Europe where this event was held.
          All of the cards illustrated are from my personal collection. 
 
Dale LaFollette

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Oh Snap!

3/1/2019

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Mar/Apr 2019 edition
Issue #4 AutoMobilia Resource Magazine
Dale LaFollette
Bugatti-101CBugatti 101C. Actual size: 3.5”x3.25”.
It may have never crossed your mind to look at snapshots as a collectable, and you would be correct, 99% of the time.  But… there are times that snapshots, whether taken by a seasoned photographer or just a lucky photographic happenstance, are worthy of your attention.  
​
Looking for and finding that elusive 1% in antique stores, etc. will drive you to tears so leave that to others. There are swap-meet vendors in Europe, and online vendors who specialize in auto photography, and occasionally they will have an outstanding snapshot, many at reasonable prices as most early snapshots are small to very small so they are priced accordingly.

The first photograph here is of a Bugatti 101C with body designed by Virgil Exner, and coachbuilt by Ghia. I found it in an album of rather pedestrian car photos but this one spoke to me; outlandish styling, and the young lady along-side in period dress with a wonderful smile, how could anyone resist? Since it is a color photo probably printed in the late 1960s, to early 1970s I am afraid to display it, as color images from that era seem to fade rather quickly but I still enjoy owning it.
The tiny image of Caracciola’s Mercedes-Benz W125 streamliner on the steep banking at AVUS in Berlin in 1937 caught my attention, not for the typical snapshot image of the blurry car, but for the man that seems to be standing on the loud speaker.
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!
Rudi-Caracciolo-Mercedes-Benz-Streamliner-W125-AVUS-1937
Rudi Caracciolo, Mercedes-Benz Streamliner W125, AVUS 1937. Actual size: 2.75” x 1.875”.
Rudi-Caracciola-Mercedes-Benz-38_250-Shelsley-Walsh-hill-climb-1929
Rudi Caracciola, Mercedes-Benz 38/250, Shelsley Walsh hill climb 1929. Actual size: 4” x 2.75”.
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.
Pierre-Marco,-Bugatti-Type-32-French-Grand-Prix-1923-
Pierre Marco, Bugatti Type 32, French Grand Prix 1923. Actual size: 3.75”x2.5”.
These four small snapshot photographs would be valued in most cases less than $75 each if they were purchased from an automobilia dealer.  If they were purchased from another more general source I would expect to pay somewhere in the $10 to $25 range. Some antique dealers think any image of a car is worth way more than it really is, so be prepared to barter.  Just remember, the automobilia dealer might have looked at a million snapshots of puppies, anonymous relatives, old touring cars, farm implements, and combinations thereof to find one jewel, so consider the asking price a finder’s fee and well worth it!

Dale LaFollette

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Desire Versus Availability

1/15/2019

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Jan/Feb 2019 edition
Issue #3 AutoMobilia Resource Magazine
Dale LaFollette
When starting to collect original vintage automotive photography it can be quite rewarding to focus your efforts on a specific driver, or car, or even a favorite event. But, it will make the collection harder to assemble, as the availability of images almost never conforms to your desires. That said, great images of Lewis Hamilton and his Mercedes-Benz grand prix car are currently available of course, but go back in time seventy years and it is a completely different story. So, I would suggest that if older images are what you would like to collect, then widen your scope,
1937VanderbiltCupRosemeyerCaracciolaMercedesBenzVintageAutoPhotography
Start of the 1937 Vanderbilt Cup, Rosemeyer leading Caracciola’s Mercedes-Benz.
1936NuvolariWinnerVanderbiltCupRaceAlfaRomeaNuvolari, winner of the 1936 Vanderbilt Cup Race driving an Alfa Romeo.

To illustrate, one of my personal “target”events currently is the 1936 and 1937 “Vanderbilt Cup Races”. Two of my favorite drivers that I look for photographs of are Tazio Nuvolari, the winner in 1936, and Bernd Rosemeyer, winner in 1937. I don’t seem to have a favorite car, but I find I do have quite a few Auto Union and Alfa Romeo photographs, all of which makes the photos included in this column, winners for me on several levels.

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. 
BerndRosemeyerWinner1937VanderbiltCupDrivingAutoUnionBernd Rosemeyer, winner of the 1937 Vanderbilt Cup driving an Auto Union.

The photos here were all circulated as news photos in period. I purchased them individually from various sources and each had minor issues when I bought them.  Condition should always be a factor when considering a purchase, but if you really want a specific photograph then you must ask yourself…. if not this one, then when and where might I find another one?  

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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Before you Buy... Feeling Matters!

11/15/2018

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Nov/Dec 2018 edition
Issue #2 AutoMobilia Resource Magazine
Dale LaFollette
If you are considering collecting automobile photography....a little knowledge as to how to differentiate between a modern and a vintage photograph will go a long way.  The first level of defense against over-spending is understanding the language.  I have seen vintage photographs called period, historical, and original, while many times the seller has no real idea of the age or origin of the image.

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.
​
JimClark_BritishGrandPrix_JuttaFausel_ESSO
Jim Clark at the British Grand Prix, the sign on the wall behind says “Jim for King” this photo was taken by Jutta Fausel for ESSO, I would value it at $75 to $125

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Favorites

9/1/2018

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Sept/Oct 2018 edition
Issue #1 AutoMobilia Resource Magazine
Dale LaFollette
1903CircuitDesArdennesDaleLaFolletteVintageAutoPhotography1903 Circuit des Ardennes
I started collecting auto racing photography over 30 years ago when I invested in a couple of  Jacques Henri Lartigue photographs of my favorite subject.  I had just sold a 6-page spread of my own photographs to a magazine, the check arrived, and I promptly spent it all on the Lartigues.  Little did I know at the time that this would lead to what I now must call a collection.

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.
NuvolariRaymondSummerAlfaRomeoLaMans24Hour1933_DaleLafolletteVintageAutoPhotographyPress photo of Nuvolari driving and Raymond Summer standing on Alfa Romeo they used to win the La Mans 24 Hour Race in 1933.

A photo of this quality, age, rarity and condition could bring $150 to $250 at a swap meet, but a gallery would be in the $500 to $750 range.  On the other hand it would take a lot more than that to get it away from me!
​
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.
​
1975RaidAfrique_CitroenInSand_DaleLaFolletteVintageAutoPhotographyRaid Afrique 1973, Citroen in sand.
prove to you that I am not only interested in prewar photography.... and that I have a sense of humor, I offer up this last photograph.  Seems that Citroen held a contest to find drivers for an event called ‘Raid Afrique 1973’, giving each of 100 drivers selected a variety of Citroen 2CVs.  Along the route they actually crossed a portion of the Sahara Desert.  So here we see one of the Citroens in sand, driver with arm hanging out the window, and co-driver on the rear bumper complete with cigarette hanging out of his mouth.

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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    Dale LaFollette Vintage Auto Photography
    Dale LaFollette

    Vintage Auto Photography

    Dale LaFollette, the owner of Vintage Motorphoto, specializes in rare and collectable original racing photographs.  Explore his knowledge in this column.

    dhlaf@comcast.net​

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