Ansel Adams 1902-1984

signed, numbered '4,' dated, and annotated by the photographer in ink on the reverse, matted, 1931 (An American Place, pl. 20; Autobiography, p. 340; Morgan & Morgan, pl. 29; Lane Collection, pl. 27; Capturing the Light, pl. 79)

This early print, with a range of gray tones and creamy whites, is on double-weight paper with a surface sheen. It is in generally excellent condition. There is very slight wear at the edges, and the corners are somewhat bumped. When examined in raking light, the following are visible: very slight silvering in the dark areas, tiny deposits of retouching in both the upper right and lower left quadrants, a small (1/4-inch) sharp handling crease in the upper left quadrant, and a faint, 1-inch, linear impression in the lower right quadrant. None of these is evident under normal viewing conditions.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The image offered here was included in Ansel Adams's early 1936 exhibition at Alfred Stieglitz's An American Place gallery in New York.  Consisting of 45 photographs, only four of which were landscapes, the photographs were of disparate subjects. Many were closeups of man-made or natural objects to which Adams was attracted because of their texture or detail. Group f.64's principles are evident in the selection.  They are what Adams and the group described as 'straight' photography--sharply-focused, cleanly-presented images.

About Political Signs and Posters (Political Circus), Andrea Gray Stillman writes,

'Adams recalls that he was attracted to this subject by the ironic juxtaposition of posters for the circus and political candidates: the title that he used for this image in the 1930s, Political Circus, reinforces the humor of the situation' (An American Place, pl. 20).