My Camera in the National Parks was prefaced by a moving essay by the photographer entitled 'The Meaning of the National Parks.' The photograph offered here, Leaves, Mount Rainier, exemplifies a passage from that essay: 'In contemplation of the eternal incarnations of the spirit which vibrate in every mountain, leaf, and particle of earth, in every cloud, stone, and flash of sunlight, we make new discoveries on the planes of ethical and humane discernment, approaching the new society at last, proportionate to nature.' In 1950, Virginia Best Adams and Houghton Mifflin published a volume of Adams's photographs- My Camera in the National Parks-to showcase some of the treasures of the American back country. With the increasing pressures of World War II, however, the mural project's funding came to an end in 1942, and the photographs were never used. Pleased with the chance to put more photographs in front of those deciding the use of America's open spaces, Adams leapt at the opportunity. His encounters with Adams inspired the Secretary to consider photographic murals for the new Interior building's walls, and in August of 1941, Ickes offered Adams a job. In 1936, he was delighted to meet Harold Ickes, Secretary of the Department of the Interior, who later purchased from him a Japanese-style folding screen with Adams's Leaves, Mills College, for his office at the Department. An ardent conservationist, and a believer in the healing power of the wilderness, Adams used photography throughout his career to persuade others of his point of view. It was during these months that some of Adams's most famous images were made, including Moonrise, Hernandez, and the Tetons and Snake River.Īdams was a fervent proponent of the concept of the national park. This combination of projects was perfect for Adams, who was accompanied on parts of the trip by his son Michael and the photographer Cedric Wright.
Potash Company, an assignment from the Department of the Interior, and Adams's own personal work. The trip combined a commercial job for the U. Leaves, Mount Rainier National Park, was made when the photographer traveled across the American West and Southwest in 19. 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. 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.
THE MURAL PROJECT CANVAS ANSEL ADAMS PROFESSIONAL
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. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. A treatment report is available from the Photographs department upon request.
This print has recently undergone conservation to address some minor condition issues.
A wide range of tones further distinguishes this print from smaller, later prints, which tend to be darker. This commanding print is remarkable for its impressive print quality, with a high level of depth and detail. Although it has not been viewed out of its frame, this impressive unmounted mural-sized print appears to be in generally excellent condition.
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