Ansel Adams

mounted on Crescent illustration board, with traces of the photographer's original signature in ink on the mount, Carmel studio stamps (BMFA 5, 6, and 10), titled in ink, on the reverse, framed, a Polaroid Collection stamp on the reverse, 1950s, probably printed between 1962 and 1963

Quito, Pontificia Universidad Católica del Ecuador, From the Polaroid Collection: Ansel Adams, sponsored by the Embassy of the United States, October - November 2001, and traveling to 3 other venues through 2003 (see Appendix 1)

This is a striking print when viewed from a normal distance. In raking light, a craquelure is visible throughout the print. Also visible are various surface scuffs and scratches, some of which appear to break the emulsion. There are two small areas of emulsion loss, in the upper center portion of the image and along the upper right edge of the print, as well as light edge-chipping. There is a slight unevenness to the print, which is only visible in raking light. None of these issues detracts from the overall fine print quality. The mount is very yellowed. The ½-inch area around the print is sunned and Adams' signature has almost entirely faded. Graphite-colored soiling, rust-colored liquid droplets, and a 2½-inch abrasion are also visible on the mount. Karen Haas's and Rebecca Senf's book, 'Ansel Adams in the Lane Collection,' publishes the most comprehensive list to date of the studio stamps and labels Adams used throughout his career. The authors' assessment of the use dates of stamps 5 and 6 on the reverse of the print's mount is 1962 to 1963. Stamp 10 indicates that this print was made from a Polaroid Type 55 negative
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