A Grand Vision: The David H. Arrington Collection of Ansel Adams Masterworks

Ansel Adams

Rose and Driftwood, San Francisco

Auction Closed

December 14, 10:16 PM GMT

Estimate

40,000 - 60,000 USD

Lot Details

Description

Ansel Adams

1902 - 1984

Rose and Driftwood, San Francisco

gelatin silver print, mounted to Crescent illustration board, signed in ink on the mount, the photographer's Carmel studio stamp (BMFA 5) on the reverse, framed, 1932, probably printed between 1962 and 1963

image: 7 5/8 by 9 1/2 in. (19.4 by 24.1 cm.)

frame: 21 by 23 in. (53.3 by 58.4 cm.)

This photograph, with a glossy surface and mounted to thick Crescent illustration board, is in generally excellent condition. There is faint graphite transference on the mount from the mat.

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.

Mary Heath Keesling Trust, San Francisco

Bonhams & Butterfields, 24 May 2007, Sale 14799, Lot 415, Andrew Smith Gallery, Santa Fe, as agent

Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), p. 33

Mary Street Alinder, Ansel Adams: A Biography (New York, 1996), unpaginated illustration

James Alinder and John Szarkowski, Ansel Adams: Classic Images, (Boston, 1985), pl. 7

Ansel Adams, Examples: The Making of 40 Photographs (Boston, 2002), p. 32

Karen E. Haas and Rebecca A. Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005), pl. 19

Andrea Gray Stillman, Looking at Ansel Adams (Boston, 2012), p. 67