- 225
Robert Adams
Estimate
5,000 - 7,000 USD
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Description
- Robert Adams
- 'clear-cut and burned, east of arch cape, oregon' (hillside with stumps)
signed, titled, and dated by the photographer and with his copyright stamp, dated by him in pencil, on the reverse, matted, 1980 (From the Missouri West, p. 59; To Make It Home, p. 96; Mirrors and Windows, p. 142)
Condition
This print is in generally excellent condition.
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.
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.
Catalogue Note
About the present lot, the photographer writes the following,
'The last view in the book, for instance, was made in wonderful circumstances. Clouds had obscured the mountains east of Arch Cape on the Oregon coast all day, but in the late afternoon they opened and I drove far up a logging road to a point where I was able, before night fell, to use the one film holder I had remaining. I value the picture because it reminds me of a time when I was allowed to be still—as we all are—and to see again, despite our follies, that the landscape retains its own stillness' (From the Missouri West, p. 63).