No connection to server
Theme auctions online
From Tradition to Modernity: 200 Years of Finnish Rya rugs E1135
Auction:
Prints & Multiples Winter Edition F581
Auction:
Hans Wigert – Paintings and Prints F617
Auction:
Selected Carpets and Textiles F600
Auction:
Modern Art Online – Winter Exhibition F533
Auction:
SPECIAL EFFECTS – Stockholm Design Week 2025 E1087
Auction:
Swedish Art Glass – Winter edition F539
Auction:
Contemporary Art Online – Winter Exhibition F532
Auction:
Live auctions
Contemporary Art & Design 662
Auction: April 15−16, 2025
Important Timepieces 663
Auction: April 15, 2025
Modern Art & Design 664
Auction: May 20−21, 2025
Important Spring Sale 665
Auction: June 11−13, 2025
219
1529387

Weegee (Arthur Fellig)

(United States, 1899-1968)
Estimate
80 000 - 100 000 SEK
7 140 - 8 930 EUR
7 250 - 9 060 USD
Hammer price
Unsold
Purchasing info
Image rights

The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.

For condition report contact specialist
Karin Aringer
Stockholm
Karin Aringer
Specialist Photographs and Contemporary Art
+46 (0)702 63 70 57
Weegee (Arthur Fellig)
(United States, 1899-1968)

'Man Killed in Accident, Market Place, New York City', circa 1938-1942

Stamp 'ARTHUR FELLIG / 5 CENTER MARKET PLACE / NEW YORK CITY' verso. Also marked 042065209 in pencil verso. Gelatin silver print mounted on cardboard, image 34 x 27 cm. Mounting 34.7 x 27.5 cm.

Provenance

Stockholms Auktionsverk, Nutida, November 2012.

More information

The Whitney Museum of American Art has a very similar image, taken at the same event, in its collection. They describe the motif as follows:
'While the subject of this brutally candid photograph is, in part, a corpse being shrouded in newspapers by a pair of policemen, Weegee was always equally interested in the activity on the periphery of the turmoil, as is evidenced here by his emphasis on the onlookers to the brutal scene. A few bystanders regard the body, but others do not, and one man in particular, on the far left side, seems to look directly at the photographer, implicating him in the drama. Weegee did not plan his images, but the chance details he captured often yielded an additional narrative or editorial element—for example, the ironic contrast between this calamitous scene and the surmounting marquee, which advertises a film titled Joy of Living.'