Ansel Adams

mounted, signed in pencil on the mount, Carmel studio stamps (BMFA 7 and 8), with title in ink, on the reverse, 1932, probably printed between 1963 and 1970 (400 Photographs, p. 75)

Lunn Gallery/Graphics International Ltd., Washington, D. C., 1975

This photograph is in generally excellent condition. A few deposits of original retouching are visible primarily in the sky area. In the lower right corner, a tiny impression that does not appear to break the emulsion is visible upon close examination in raking light. On the reverse of the mount are 3 one-inch hinge remnants along the upper and lower edges. Number '304' is written in pencil on the reverse. 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. Our dating of this print is based upon the authors' assessment of the use dates of stamps 7 and 8 on the reverse of this print: 1963 to 1970.
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.

Photographs from the Collection of Charles and the late Barbara Reiher

How did a government employee and a parochial high school teacher wind up with a bunch of photographs, half of which are Robert Franks, many vintage and unknown? 

That day in 1968, when the Washington Post used Lars Bo’s etching ‘Sunless Sea’ to accompany a mention of Harry Lunn’s newly-opened print gallery on Capitol Hill, we knew we had to make a visit.   Another print of ‘Sunless Sea’ was the first work of art we had purchased shortly after our wedding in 1964, and we wanted to see more. What we couldn’t have known then is that, for the next dozen or so years, we’d spend every free dollar we could find at Harry’s Graphics International Ltd., that we’d eventually acquire over a hundred of Lars’s works—including three watercolors from the Lunns’ personal collection—that we’d move into collecting photographs, and that we’d even end up attending a party at the Lunns the day that Ansel Adams received the Presidential Medal of Freedom.

Harry’s wife Miriam is French, and the Lunns, as it turned out, were personal friends of Lars Bo.  The Lunns’ then-only-child, Christophe, was just about the same age as our son Christopher.  This and our love of Lars’s work led to a relationship that lasted until Harry moved to New York.  We went to all of his openings, and I frequently showed up on Saturdays to look at new arrivals, listen to Harry talk about the art world and artists, and share a gourmet lunch and a couple of glasses of very decent wine.

When Harry became interested in photography, it took him a couple of years to drag us along, kicking and screaming.  Finally a discount on a Wheeler Survey O’Sullivan got us started.  We had acquired two Ansel Adams and some Yousuf Karshes by the time Harry got the rights to sell the Robert Frank archive.

I hadn’t been aware of Robert Frank before, but looking at Harry’s copy of The Americans, the Japanese edition of Lines of My Hand, and the wonderful photos themselves convinced me that these were special.   So in 1978 and 1979, with the help of a 40% discount (yes, from Harry Lunn), we purchased 21 of Robert Frank’s photographs.  We bought well-known images from The Americans and Lines of My Hand, but Harry also encouraged us to get some scarce prints of early European pictures, along with Guggenheim submissions and a MoMA print of the “other” Covered Car.  Harry and I spent a lot of time sorting the Franks into yes, no, and possible piles.  Being able to see so many Frank photographs in person, at one time, convinced us of the seminal importance of his work.  Harry knew that Robert Frank was THE photographer to own, and although I didn’t always follow Harry’s advice, I’m very grateful that we listened to him about Robert Frank.

One of my last and best Harry memories is from 1980, the evening of the day that Ansel Adams received the Presidential Medal of Freedom.  We were thrilled to be invited to Harry’s home for a party to honor Ansel.  I can still see Harry scurrying around to get a Karsh photograph prominently placed on the walls before Yousuf arrived to celebrate Ansel’s achievement.  More than thirty years later, I vividly remember the thrill of partying with two of the world’s greatest photographers.

Harry’s understanding of the truly special permeated our purchases, including the photographs offered here.  In retrospect, it makes no sense to me that Barb and I should have been such avid collectors of art and photography.   I blame it all on Harry Lunn.  Thank you, Harry.  Thank you, Harry.  Thank you Harry!

                                                                                                     ---Charles Reiher