A Possible William Bonney Billy The Kid Original Photograph

Why This Find Matters

A single photograph can reset the market for an entire category of Americana. With William H. Bonney—better known as Billy the Kid—the bar is especially high: there is only one widely accepted, fully authenticated photograph of him, a small tintype taken in New Mexico Territory circa 1879–1880. That image, sold at public auction in 2011 for a multi‑million‑dollar price, created a benchmark. Any new “possible Billy” photograph must stand up to exceptional scrutiny across history, science, and provenance.

For antiques and appraisal professionals, the significance is twofold:

• The value delta between “authentic” and “not proven” is enormous (seven figures versus low three figures).
• The cost and time needed to test a hypothesis can be substantial, and the process must be staged to manage risk, conserve the object, and build a defensible report.

Before calling the press—or dismissing a family heirloom—learn what is already known, what can be tested, and how a well‑designed authentication workflow proceeds.

The Known Image—and Why Most New “Finds” Fail

The only broadly accepted, authenticated photograph shows Billy the Kid standing full‑length, wearing a felt hat, sweater, vest, and scarf, with a Winchester Model 1873 rifle and a holstered revolver. The picture is a tintype (also called a ferrotype): a direct‑positive image on a thin iron plate with a dark lacquer backing. Period lore indicates that multiple near‑identical tintypes were produced from the same sitting; one example with rock‑solid provenance surfaced and sold in 2011. Its chain of custody, often summarized as the Dedrick/Upham lineage, links back to a friend of Billy’s in the era and runs unbroken through that family to sale.

Recurring pitfalls that sink most later claims:

• Wrong medium or print technology for the claimed date (e.g., modern copy prints, halftone reproductions from books/newspapers, or silver gelatin enlargements masquerading as originals).
• Inadequate or circular provenance (statements repeating a family story without independent, time‑appropriate documentation).
• Misidentification driven by resemblance, costume, or props rather than biometric consistency and contextual fit.
• Background settings and objects that don’t align with the New Mexico Territory timeframe or with Billy’s known movements and associates.
• Overreliance on software “facial recognition” without controlling for lens distortion, pose, age, and the mirror reversal inherent in tintypes.

A critical historical note: the famous tintype is reversed left‑to‑right (as direct‑positive processes often are), which helped create the “left‑handed gun” myth. In the image, the Winchester’s loading gate appears on the left; in reality, it is on the right, consistent with a right‑handed shooter. Any comparative analysis must account for mirror reversal.

Physical and Period Diagnostics

Start with the artifact itself—its materials, construction, and physical aging. Period correctness is the first gate.

Medium and support

• Tintype/ferrotype: A thin iron sheet (slightly magnetic), coated with black or chocolate‑brown lacquer on the reverse, with a collodion‑based light‑sensitive layer on the face. Typical thickness ~0.15–0.25 mm; edges may be clipped. A weak magnet should attract at the very edge; do not drag a magnet across the surface.
• Ambrotype: Glass support, not magnetic; often cased.
• Albumen paper prints (CDVs, cabinet cards): Paper photograph mounted on cardstock; common in the 1860s–1880s. If your candidate is on paper, it must be demonstrated to be a period print from a period negative—an uphill battle for a subject without a known studio sitting.
• Copy photographs: 20th‑century silver gelatin prints have fiber or resin‑coated papers, optical enlarger artifacts, and surface gloss not consistent with 1870s field work. Halftone dot patterns indicate a print derived from a magazine/book, not a photograph.

Surface and image characteristics

• Collodion tintypes exhibit a unique, slightly granular image with low gloss and sometimes visible flow lines or “swirls” under raking light. Varnish may fluoresce under UV.
• Longitudinal scratch patterns, edge bending, and oxidation “speckling” are normal on 19th‑century tintypes; uniform modern abrasion or inkjet micro‑dotting is not.
• Mounts and sleeves: Late‑1870s tintypes are often found in simple paper sleeves or loose; earlier examples might be in small cases. Any inscriptions should be period‑appropriate in ink and hand, and ideally dated.

Dating via clothing and hardware

• Weapons: A Winchester Model 1873 in the frame is plausible for 1878–1880; look for the loading gate position (right side in reality, left in a mirrored tintype). Assertions of unusual or later firearms should be cross‑checked with manufacturer release dates.
• Attire and hats: Evaluate construction details (stitching, buttons, weave) rather than generic “old‑time” appearance. A mélange of styles from different decades is a red flag for staged reenactment imagery.

Image geometry and pose

• Mirror reversal is expected in tintypes and ambrotypes. Hair part, hat tilt, and holster side must be corrected in your mind before comparing to the known image or to descriptions.

If your object fails medium or period checks, there is no reason to proceed further; document the reasons and redirect attention to its own category value.

From Story to Proof: Building Provenance

A compelling chain of custody is a narrative anchored by verifiable, time‑appropriate documents—preferably created close to the events they describe.

What strong provenance looks like

• Named associates: Daniel (Dan) Dedrick and other historically documented friends or contemporaries of Billy the Kid are credible touchpoints, especially if linked by letters, inscriptions, bills of sale, or estate inventories.
• Dated paperwork near the period: Diaries, correspondence, or photograph sleeves with period ink and period orthography referencing “Kid” or “William Bonney,” preferably with location markers (Fort Sumner, Lincoln County, Mesilla, Las Vegas NM, etc.).
• Public mentions before the modern market: Newspaper references, exhibition catalogues, or museum/lodge displays from the early 20th century citing the photograph.
• Unbroken line of descent: Transfers documented across heirs, complete with addresses and dates that can be corroborated by census, probate, or city directories.

What weak provenance looks like

• “It’s always been in the family” with no corroborating documents or photographs of the object in situ.
• Recent inscriptions naming Billy on obviously modern materials.
• Claims of studio sittings in places Billy never visited or at dates post‑1881.

Provenance research tools and tactics

• Cross‑check names and locations in territorial censuses, land records, probate files, and period newspapers.
• Align the object’s journey with known biographical timelines (e.g., Lincoln County War in 1878; Billy’s presence around Fort Sumner in 1879–1880).
• Seek independent corroboration: Multiple, unrelated sources supporting the same fact carry more weight than a single family letter.

Authentication Path and Appraisal Reality

The most credible authentications proceed in stages, with conservative handling and escalating investment only when prior checkpoints are passed.

Stage 1: Triage and documentation

• High‑resolution imaging (front, back, edges) at 1200–2400 dpi, with raking light and UV to record surface features, scratches, and any inscriptions.
• Non‑contact magnet test at the very edge to verify iron support (tintype) versus glass or paper.
• Preliminary opinion from a photographic conservator on medium, condition, and storage needs.

Stage 2: Historical fit

• Context check by an Old West historian: timeline, location, attire, and arms analysis for plausibility in 1878–1880 New Mexico Territory.
• Comparative screening against the known tintype and period descriptions. Expect mirror reversal in original direct‑positive processes.

Stage 3: Scientific testing (as warranted)

• XRF (X‑ray fluorescence) to confirm an iron support and evaluate elemental profile consistent with 19th‑century lacquer/pigments.
• Optical microscopy to examine emulsion morphology and aging patterns.
• Paper/mount analysis (if present): fiber ID, filler content, and adhesives consistent with the era.
• Digital photogrammetry and controlled facial comparison: ear shape, orbital spacing, nasal features, philtrum length, and dental presentation assessed by a specialist. Avoid black‑box “face‑match” apps; require documented methodology and error rates.

Stage 4: Peer review and reporting

• Assemble findings into a report that clearly delineates facts, interpretations, and confidence levels.
• Seek independent peer review from at least two subject‑matter experts (photographic history and Old West history).

Valuation approach

• If authenticity is not yet established, appraise as: “19th‑century tintype, subject unidentified, with a research hypothesis.” Value reflects the object itself plus a modest premium for research potential.
• If multiple lines of evidence converge strongly (but prior to universal acceptance), consider a conditional appraisal using probability weighting (e.g., expected value models). Be transparent about assumptions.
• If accepted by consensus as depicting William H. Bonney, value can move into seven figures, as demonstrated by the 2011 sale of the authenticated tintype. Marketability, publicity, and timing will influence the top line.

Risk and cost

• Expect a multi‑month process. Professional research, conservation assessment, and testing typically cost in the low five figures, and more if litigation‑grade reporting or extensive lab work is required.
• Do not clean, re‑varnish, or attempt repairs before examination; such actions can destroy evidence and value.

Practical Checklist

• Confirm the medium: Is it truly a tintype (iron, magnetic), not a paper print or modern copy?
• Inspect for period-consistent wear: edges, oxidation, and varnish; avoid any cleaning.
• Correct for mirror reversal before comparing features and gear.
• Cross‑check weapons, attire, and setting against 1878–1880 New Mexico Territory.
• Assemble all provenance documents; prioritize dated, contemporaneous records.
• Commission high‑resolution images and a photographic conservator’s condition note.
• Obtain preliminary historical analysis before paying for lab testing.
• If still promising, pursue targeted scientific tests (XRF, microscopy) and controlled facial comparison.
• Build a peer‑reviewed report with clear confidence statements.
• Insure and store properly during the process (stable climate, inert enclosures).

FAQ

Q: How many authentic photographs of Billy the Kid exist? A: Only one photograph is widely accepted by scholars and market participants: the full‑length tintype taken circa 1879–1880 in New Mexico Territory. Many other images have been proposed over the years, but none has achieved similar consensus.

Q: What about the “croquet photo” and other media stories? A: The so‑called croquet image and several other claimed finds have generated publicity but remain disputed. Publicity is not proof; without convergent evidence (period medium, airtight provenance, contextual fit, and rigorous comparison), the market treats such images as unproven.

Q: How can I tell if my image is just a copy of the known tintype? A: Copy prints often show halftone dots (from book or newspaper sources) under magnification or display modern photo paper characteristics. Even 19th‑century copy processes leave tell‑tale generational loss and duplicated damage patterns. If your image matches the known tintype pose and all micro‑defects exactly, it is almost certainly a copy, not a separate sitting.

Q: Is the “left‑handed gunman” idea true? A: No. The myth stems from the mirror reversal of tintypes and ambrotypes. In the famous photograph, features appear flipped, making it look as if the rifle’s loading gate and the holster are on the left. In reality, the Winchester 1873 loads on the right, consistent with a right‑handed shooter.

Q: How should I store a tintype while I explore authentication? A: Keep it in a stable environment (about 40–50% relative humidity, cool temperatures), in an inert, acid‑free sleeve or folder, and out of direct light. Do not use adhesives or magnetic albums, and avoid any surface cleaning. Handle by edges with nitrile gloves.

A possible Billy the Kid photograph is a rare and exciting prospect—but the standard of proof is high. By proceeding methodically—verifying the medium, testing period plausibility, building provenance, and commissioning disciplined scientific and comparative work—you protect both the object and your investment. Even if your candidate ultimately proves to be a different sitter, you’ll have created a model case study in responsible appraisal practice.