'Moonrise, Hernandez, New Mexico'
1902 - 1984
'Moonrise, Hernandez, New Mexico'
gelatin silver print, mounted, signed in pencil on the mount, the photographer's Carmel studio stamp (BMFA 11), with title and date 'c. 1942' in ink, on the reverse, framed, with a Michael Shapiro Gallery label on the reverse, 1941, probably printed between 1973 and 1977
image: 15 ¼ by 19 ⅜ in. (38.7 by 49.2 cm.)
frame: 25 by 29 in. (63.5 by 73.7 cm.)
Please note the colors and shades in the online catalogue illustration may vary depending on screen settings. This photograph is in generally excellent condition. When examined very closely in raking light, superficial hairline scratches are visible, likely a result of the mounting process. 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. On the reverse of the frame is a 'Property of The Grindstone Trust Co.' label.
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.
Ansel Adams and Lawrence Clark Powell, Photographs of the Southwest (Boston, 1976), pl. 55
James Alinder, Ansel Adams 1902-1984 (The Friends of Photography, Carmel, CA, 1984), p. 55
James Alinder and John Szarkowski, Ansel Adams: Classic Images, (Boston, 1985), pl. 32
Mary Street Alinder and Andrea Gray Stillman, Ansel Adams: Letters and Images 1916-1984 (Boston, 1988), p. 142
Andrea Gray Stillman, ed., Ansel Adams: The Grand Canyon and the Southwest (Boston, 2000), frontispiece
John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001), pl. 96
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 2002), p. 40
Karen E. Haas and Rebecca A. Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005), pl. 37
Andrea Gray Stillman, ed., Ansel Adams: 400 Photographs (Boston, 2007), p. 175
Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), fig. 3 and p. 109
Andrea Gray Stillman, Looking at Ansel Adams (Boston, 2012), p. 119
Rebecca Senf, Making a Photographer: The Early Work of Ansel Adams (New Haven, 2020), fig. 6.15
Robert Doty, ed., Photography in America (New York: Whitney Museum of American Art, 1974), pp. 130-31
Martha A. Sandweiss, Masterworks of American Photography: The Amon Carter Museum Collection (Birmingham, 1982), pl. 125
Therese Mulligan and David Wooters, Photography from 1839 to Today, George Eastman House (Köln, 2000), p. 643
Karen E. Haas, An Enduring Vision: Photographs from the Lane Collection (Boston, 2011), pl. 8