View full screen - View 1 of Lot 66. ANSEL ADAMS  |  'GEORGIA O'KEEFFE AND ORVILLE COX, CANYON DE CHELLY NATIONAL MONUMENT, ARIZONA'.
66

ANSEL ADAMS | 'GEORGIA O'KEEFFE AND ORVILLE COX, CANYON DE CHELLY NATIONAL MONUMENT, ARIZONA'

Estimate:

15,000

to
- 25,000 USD

ANSEL ADAMS | 'GEORGIA O'KEEFFE AND ORVILLE COX, CANYON DE CHELLY NATIONAL MONUMENT, ARIZONA'

ANSEL ADAMS | 'GEORGIA O'KEEFFE AND ORVILLE COX, CANYON DE CHELLY NATIONAL MONUMENT, ARIZONA'

Estimate:

15,000

to
- 25,000 USD

Lot sold:

40,000

USD

ANSEL ADAMS

1902 - 1984

'GEORGIA O'KEEFFE AND ORVILLE COX, CANYON DE CHELLY NATIONAL MONUMENT, ARIZONA'


mounted, signed Ansel Adams and with inscription For Juan Hamilton in pencil on the mount, the photographer's Carmel studio stamp (BMFA 11), with title Georgia O'Keeffe and Orville Cox, Canyon de Chelly National Monument, Arizona and date 1937 in ink, on the reverse, framed 

gelatin silver print

7 ¾ by 11 inches

(19.7 by 27.9 cm)

Executed in 1937, probably printed between 1973 and 1977.

This gelatin silver print is in generally excellent condition. Upon close examination in high raking light, the following are visible: a few scattered tiny deposits of original retouching; a 1/4-inch impression in the upper left quadrant, which does not appear to break the emulsion; 2 1/4-inch scratches in the lower right qadrant, which may break the emulsion; a pinpoint-sized loss in the lower right quadrant, and some very faint diagonal scuffing in the black tones of the hat brim. The upper left corner displays some very minor wear.


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 stamp 11 on the reverse of the mount: 1973 through 1977.


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.

Georgia O’Keeffe, Abiquiu, New Mexico

By descent to the present owner

Liliane De Cock, ed., Ansel Adams, Hastings-on-Hudson, New York, 1972, pl. 42, illustrated 

Ansel Adams and Mary Street Alinder, Ansel Adams: An Autobiography, Boston, Massachusetts, 1985, p. 227, illustrated 

James Alinder and John Szarkowski, Ansel Adams: Classic Images, Boston, Massachusetts, 1985, pl. 14, illustrated 

Mary Street Alinder and Andrea G. Stillman, eds., Ansel Adams: Letters and Images 1916-1984, Boston, Massachusetts, 1988, p. 99, illustrated 

Andrea G. Stillman, ed., The Grand Canyon and the Southwest, Boston, Massachusetts, 2000, p. 37, illustrated 

Karen E. Haas and Rebecca A. Senf, Ansel Adams in the Lane Collection, Museum of Fine Arts, Boston, Massachusetts, 2005, pl. 45, illustrated 

Andrea G. Stillman, Ansel Adams: 400 Photographs, Boston, Massachusetts, 2007, cover and p. 157, illustrated 

Susan Danly, Georgia O’Keeffe and the Camera: The Art of Identity, New Haven, Connecticut, 2008, pp. 15 and 63, illustrated

Wanda M. Corn, Georgia O’Keeffe: Living Modern, New York, 2018, p. 127, illustrated