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Ansel Adams 'Surf Sequence, San Mateo County Coast, California'
作品估价：USD 200,000 - 300,000
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图录号：
19
拍品名称：
Ansel Adams 'Surf Sequence, San Mateo County Coast, California'
拍品描述：
Ansel Adams
1902 - 1984
‘Surf Sequence, San Mateo County Coast, California’
five gelatin silver prints, each mounted, signed in pencil on the mount, the photographer’s Carmel studio stamp (BMFA I), with title, sequence number, and date in ink, on the reverse, framed, The Cleveland Museum of Art and The Friends of Photography exhibition labels on the reverse
images approximately 11 by 13 in. (27.9 by 33 cm.)
Executed in 1940, printed between 1981 and 1982.
The Estate of the photographer to The Friends of Photography, Carmel, 1984
Acquired from the above, 2002
James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1976), pls. 26-30
James Alinder, Ansel Adams: Photographs of the American West (Carmel: The Friends of Photography, 1980), unpaginated (Surf Sequence 3)
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), pp. 22, 24-25
Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), pp. 198-99 (Surf Sequence 1, 3-5)
Karen E. Quinn and Theodore E. Stebbins, Jr., Ansel Adams: The Early Years (Boston, 1991), pl. 21 (Surf Sequence 4)
Michael Read, ed., Ansel Adams, New Light: Essays on His Legacy and Legend (San Francisco: The Friends of Photography, 1993), p. 26 (Surf Sequence 2-5)
John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001), pls. 54-58
Karen Haas and Rebecca Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005), pp. 94-95
Britt Salvesen, John Szarkowski, and Amy Rule, Harry Callahan: The Photographer at Work (Tucson: Center for Creative Photography, 2006), fig. 16
Andrea Gray Stillman, ed., Ansel Adams: 400 Photographs (Boston, 2007), pp. 252-53
Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), p. 105 (Surf Sequence 5)
Shanghai, Shanghai Gallery, People’s Exhibition Hall, Ansel Adams: Photographer, February 1983, and traveling thereafter to: Beijing, National Museum of Art, March 1983; Tokyo, Odakyu Store Art Gallery, June 1983; Hong Kong Arts Centre, July – August 1983; San Diego, Museum of Photographic Arts, June – August 1984; Haifa, Museum of Modern Art, May – August 1987
San Francisco, Ansel Adams Center, Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection, March – June, 1997, and traveling thereafter to: Chattanooga, Tennessee, Hunter Museum of Art, July – September 1997; Louisville, Kentucky, J. B. Speed Museum, September – November 1998; Fort Wayne, Indiana, Fort Wayne Museum of Art, December 1998 – February 1999; Japan, Nihombashi, Mitsukoshi Department Store Gallery, March, 1999; Japan, Ehime Prefecture Museum, June – July 1999; Japan, Toyama Prefecture, Tonami City Museum, July – August 1999; Japan, Hokkaido, Kushiro Art Museum, September – October 1999; Japan, Kawasaki City Museum, October – December 1999; Cincinnati, Ohio, Cincinnati Art Museum, May – August 2000
Billings, Montana, Yellowstone Art Museum, Ansel Adams: a Legacy, October 2002 – January 2003 and traveling thereafter to: University of Texas at Austin, Harry Ransom Center, Ansel Adams: a Legacy, August 2005 – January 2006; Loretta and Ligonier, Pennsylvania, The Southern Alleghenies Museum of Art, March– November 2006; Cleveland, Ohio, Cleveland Institute of Art, May – August 2007; Tucson Museum of Art, October 2009 – February 2010; Cartersville, Georgia, Booth Western Art Museum, September 2010 – March 2011; Missoula, Montana, Missoula Art Museum, October 2011 – April 2012; Helena, Montana, The Holter Museum of Art, January – April 2013; Charlottesville, Virginia, University of Virginia, The Fralin Museum of Art, June – October 2013
‘We were all visually invigorated after our times spent with Edward (Weston), and we stopped frequently to photograph on the trip back to San Francisco. At one place along the Highway One roadside, I photographed from a cliff top, directing my camera almost straight down to the surf patterns washing upon the beach below in a continuing sequence of beautiful images. As I became aware of the relations between the changing light and surf, I began making exposure after exposure. Though each photograph can be shown separately, a group of five displayed together has the greatest effect. Surf Sequence is one of my most successful photographic expressions.’
Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), pp. 199-200
The dynamic sequence of images taken during an impromptu stop along California’s Highway 1 shows Ansel Adams’ innovative approach to capturing the ever-changing undulations of the surf, at times bulbous and consuming, at other times retreating and pregnant with anticipation. Conveyed together, the sequence renders an almost filmic representation of our constantly changing natural environment.Although Adams declined to prescribe a specific order in which the series should be displayed, he did assign each image a sequential number, which are written on the reverse of the photographs offered here. As the surf breaks and naturally unfolds endless combinations of organic lines dancing across the shoreline, so too may the prints be presented in a spontaneous manner.
The concept of serial imagery has played a role in defining how artists approach image making and the endless combinations in which multiple images can be physically arranged. A great admirer of Alfred Stieglitz, who gave Adams his first solo exhibition, Surf Sequence exists in conversation with such works as the extended series Equivalents of the 1920s. Stieglitz often presented these musically-inspired photographs of clouds in rhythmic sets meant to arouse an emotional response and abstract from purely visual representations of the sky.
‘As Minor said to me, “A sequence of several images can be thought of as a single statement.’’'
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 27
Perhaps the most important influence on Adams’ exploration of sequential or grouped photographs was photographer, and fellow member of The Friends of Photography, Minor White, who, by the early 1930s, had experimented with structured groupings of photographs that demanded awareness of the shared content and feeling pervading his sequences. For White, a sequence of photographs ordered with intentionality could achieve more complexity and spirituality than could a single photograph on its own. As White scholar Peter Bunnell noted, 'Grouping photographs was Minor White's preferred mode of presentation, and the sequence, of all his arrangements, was his most sophisticated form of pictorial expression' (The Eye That Shapes, p. 231).
Complete suites of Ansel Adams’ Surf Sequence are rare at auction. Only three sets have come to market in the last twenty years. The series is represented in several important institutional collections, including the Museum of Modern Art, New York; Philadelphia Museum of Art; the National Gallery of Art, Washington, D. C.; the National Gallery of Canada, Ottawa; the Museum of Fine Arts Boston; and the Los Angeles County Museum of Art.
1902 - 1984
‘Surf Sequence, San Mateo County Coast, California’
five gelatin silver prints, each mounted, signed in pencil on the mount, the photographer’s Carmel studio stamp (BMFA I), with title, sequence number, and date in ink, on the reverse, framed, The Cleveland Museum of Art and The Friends of Photography exhibition labels on the reverse
images approximately 11 by 13 in. (27.9 by 33 cm.)
Executed in 1940, printed between 1981 and 1982.
The Estate of the photographer to The Friends of Photography, Carmel, 1984
Acquired from the above, 2002
James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1976), pls. 26-30
James Alinder, Ansel Adams: Photographs of the American West (Carmel: The Friends of Photography, 1980), unpaginated (Surf Sequence 3)
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), pp. 22, 24-25
Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), pp. 198-99 (Surf Sequence 1, 3-5)
Karen E. Quinn and Theodore E. Stebbins, Jr., Ansel Adams: The Early Years (Boston, 1991), pl. 21 (Surf Sequence 4)
Michael Read, ed., Ansel Adams, New Light: Essays on His Legacy and Legend (San Francisco: The Friends of Photography, 1993), p. 26 (Surf Sequence 2-5)
John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001), pls. 54-58
Karen Haas and Rebecca Senf, Ansel Adams in the Lane Collection (Museum of Fine Arts, Boston, 2005), pp. 94-95
Britt Salvesen, John Szarkowski, and Amy Rule, Harry Callahan: The Photographer at Work (Tucson: Center for Creative Photography, 2006), fig. 16
Andrea Gray Stillman, ed., Ansel Adams: 400 Photographs (Boston, 2007), pp. 252-53
Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), p. 105 (Surf Sequence 5)
Shanghai, Shanghai Gallery, People’s Exhibition Hall, Ansel Adams: Photographer, February 1983, and traveling thereafter to: Beijing, National Museum of Art, March 1983; Tokyo, Odakyu Store Art Gallery, June 1983; Hong Kong Arts Centre, July – August 1983; San Diego, Museum of Photographic Arts, June – August 1984; Haifa, Museum of Modern Art, May – August 1987
San Francisco, Ansel Adams Center, Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection, March – June, 1997, and traveling thereafter to: Chattanooga, Tennessee, Hunter Museum of Art, July – September 1997; Louisville, Kentucky, J. B. Speed Museum, September – November 1998; Fort Wayne, Indiana, Fort Wayne Museum of Art, December 1998 – February 1999; Japan, Nihombashi, Mitsukoshi Department Store Gallery, March, 1999; Japan, Ehime Prefecture Museum, June – July 1999; Japan, Toyama Prefecture, Tonami City Museum, July – August 1999; Japan, Hokkaido, Kushiro Art Museum, September – October 1999; Japan, Kawasaki City Museum, October – December 1999; Cincinnati, Ohio, Cincinnati Art Museum, May – August 2000
Billings, Montana, Yellowstone Art Museum, Ansel Adams: a Legacy, October 2002 – January 2003 and traveling thereafter to: University of Texas at Austin, Harry Ransom Center, Ansel Adams: a Legacy, August 2005 – January 2006; Loretta and Ligonier, Pennsylvania, The Southern Alleghenies Museum of Art, March– November 2006; Cleveland, Ohio, Cleveland Institute of Art, May – August 2007; Tucson Museum of Art, October 2009 – February 2010; Cartersville, Georgia, Booth Western Art Museum, September 2010 – March 2011; Missoula, Montana, Missoula Art Museum, October 2011 – April 2012; Helena, Montana, The Holter Museum of Art, January – April 2013; Charlottesville, Virginia, University of Virginia, The Fralin Museum of Art, June – October 2013
‘We were all visually invigorated after our times spent with Edward (Weston), and we stopped frequently to photograph on the trip back to San Francisco. At one place along the Highway One roadside, I photographed from a cliff top, directing my camera almost straight down to the surf patterns washing upon the beach below in a continuing sequence of beautiful images. As I became aware of the relations between the changing light and surf, I began making exposure after exposure. Though each photograph can be shown separately, a group of five displayed together has the greatest effect. Surf Sequence is one of my most successful photographic expressions.’
Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), pp. 199-200
The dynamic sequence of images taken during an impromptu stop along California’s Highway 1 shows Ansel Adams’ innovative approach to capturing the ever-changing undulations of the surf, at times bulbous and consuming, at other times retreating and pregnant with anticipation. Conveyed together, the sequence renders an almost filmic representation of our constantly changing natural environment.Although Adams declined to prescribe a specific order in which the series should be displayed, he did assign each image a sequential number, which are written on the reverse of the photographs offered here. As the surf breaks and naturally unfolds endless combinations of organic lines dancing across the shoreline, so too may the prints be presented in a spontaneous manner.
The concept of serial imagery has played a role in defining how artists approach image making and the endless combinations in which multiple images can be physically arranged. A great admirer of Alfred Stieglitz, who gave Adams his first solo exhibition, Surf Sequence exists in conversation with such works as the extended series Equivalents of the 1920s. Stieglitz often presented these musically-inspired photographs of clouds in rhythmic sets meant to arouse an emotional response and abstract from purely visual representations of the sky.
‘As Minor said to me, “A sequence of several images can be thought of as a single statement.’’'
Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 27
Perhaps the most important influence on Adams’ exploration of sequential or grouped photographs was photographer, and fellow member of The Friends of Photography, Minor White, who, by the early 1930s, had experimented with structured groupings of photographs that demanded awareness of the shared content and feeling pervading his sequences. For White, a sequence of photographs ordered with intentionality could achieve more complexity and spirituality than could a single photograph on its own. As White scholar Peter Bunnell noted, 'Grouping photographs was Minor White's preferred mode of presentation, and the sequence, of all his arrangements, was his most sophisticated form of pictorial expression' (The Eye That Shapes, p. 231).
Complete suites of Ansel Adams’ Surf Sequence are rare at auction. Only three sets have come to market in the last twenty years. The series is represented in several important institutional collections, including the Museum of Modern Art, New York; Philadelphia Museum of Art; the National Gallery of Art, Washington, D. C.; the National Gallery of Canada, Ottawa; the Museum of Fine Arts Boston; and the Los Angeles County Museum of Art.