View full screen - View 1 of Lot 65. Monolith: The Face of Half Dome (Parmelian Print).
65

Ansel Adams

Monolith: The Face of Half Dome (Parmelian Print)

Property from the Frances Hamilton White Trust

Ansel Adams

Ansel Adams

Monolith: The Face of Half Dome (Parmelian Print)

Monolith: The Face of Half Dome (Parmelian Print)

Property from the Frances Hamilton White Trust

Ansel Adams

1902 - 1984

Monolith: The Face of Half Dome (Parmelian Print)


gelatin silver print, signed 'A E Adams' in pencil and with letterpress title in the margin, framed, 1927; accompanied by the original vellum letterpress wrappers (2)

image: 8 by 6 in. (20.3 by 15.2 cm.)

frame: 19 ¼ by 15 ¼ in. (48.9 by 38.7 cm.)

Please note the colors and shades in the online catalogue illustration may vary depending on screen settings. This gelatin silver print, on single-weight paper with a faint sheen, exhibits the rich tonality with inky blacks and bright, creamy highlights typical of Adams' Parmelian prints. It is in generally excellent condition. There is silvering in the darkest tones at the edges of the image. Scattered tiny deposits of original retouching are visible only in raking light. The margins are faintly soiled. The paper is rippled at the upper margin edge. There are sharp creases at the margin corners as well as soft creases along the left and right sides. On the reverse, '64103' is written in pencil in an unidentified hand. The presentation folder is soiled overall and age-darkened at the edges. The edges and corners are worn. There are some scattered foxmarks.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

The Ansel Adams Gallery, Yosemite Valley
Nancy Newhall, Ansel Adams: The Eloquent Light, Photographs 1923-1963 (Sierra Club, 1963), dust jacket and p. 45

Liliane de Cock Morgan, ed., Ansel Adams (Hastings-on-Hudson, 1972), pl. 8

Ansel Adams, Yosemite and the Range of Light (Boston, 1979), pl. 54

Ansel Adams and Mary Street Alinder, Ansel Adams: An Autobiography (Boston, 1985), p. 77

Mary Street Alinder and Andrea G. Stillman, eds., Ansel Adams: Letters and Images, 1916 - 1984 (Boston, 1988), p. 31

Karen E. Quinn and Theodore E. Stebbins, Jr., Ansel Adams: The Early Years (Museum of Fine Arts, Boston, 1991), pl. 6

Mary Street Alinder, Ansel Adams: A Biography (New York, 1996), facing p. 106

Karen E. Haas and Rebecca A. Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005), pl. 5

Andrea G. Stillman, ed., Ansel Adams: 400 Photographs  (New York, 2007), p. 35

Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), fig. 2

Peter Galassi, Ansel Adams in Yosemite Valley: Celebrating the Park at 150 (Boston, 2014), p. 143

Rebecca Senf, Making a Photographer: The Early Work of Ansel Adams (New Haven, 2020), fig. 2.19