Charles m conlon biography samples
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Fall 2020 - Item detail
- Sold For:
- $390,000
- Year:
- 1910
- Auction:
- 2020 Fall
- Lot #:
- 1
- Category:
- Featured
In every field of collectibles there is one piece, one singular item, that rises in stature above all others and becomes iconic. In art, it is the Mona Lisa. In baseball cards, the T206 Honus Wagner Card. In musical instruments, a Stradivarius violin. Baseball photography, too, has its own paragon of visual perfection, and it is not surprising that it comes to us from the gifted lens of the man many consider to be the greatest practitioner of his craft: Charles Conlon. On July 23, 1910, at Hilltop Park, home of the New York Highlanders, Conlon shot what is universally regarding as the most visceral sports photograph ever taken. The image captures the pure fury that was Ty Cobb as he slides into third base on an attempted steal and makes Highlanders third baseman Jimmy Austin pay for his impudence in attempting to make the tag. The determination on Cobb's face, the dirt flying in all directions, and Austin's futile attempt to catch the throw from the catcher while trying to avoid serious injury from the steel shards emanating from Cobb's shoes combine to elicit an emotional response that is unmatched by any other baseball image.
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Charles M. Conlon has been deemed — on Lens, if not elsewhere — “the greatest baseball photographer.” From 1904 to 1942, Mr. Conlon shot some 30,000 pictures of America’s pastime. In 1993, The Sporting News published “Baseball’s Golden Age,” a collection of his work.
Fred R. Conrad wrote about Mr. Conlonwhen he first saw the work two years ago. He asked Neal McCabe, one of the book’s authors, to see the layout for what was then a proposed follow-up. “I was blown away,” Mr. Conrad wrote. “I think the sequel is better than the first book.”
In September, 200 Conlon images — some previously forgotten — were published by Abrams Books in “The Big Show.” Shortly afterward, Mr. Conrad and Kerri MacDonald spoke with Connie McCabe, the head of the Photograph Conservation Department at the National Gallery of Art, and Mr. McCabe’s co-author. Their conversation has been edited and condensed.
Q.
Let’s start off with the challenges you faced in trying to copy these negatives.
A.
People kept calling them the “glass plates,” and maybe upwards of half of his plates were glass. The rest are film negatives, because he g