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Ansel AdamsMoonrise, Hernandez, New Mexico1958
1958
About the Item
Made in 1941 by Ansel Adams, this print was printed in the 1970's. It was originally acquired through the Weston Gallery and has come back to us through a private collector. It is currently framed in a brushed silver metal and we will include the frame with the sale. Signed on the front of the mount. Stamped, titled and dated on the back of the mount.
Decades after the image was captured, Ansel Adams vividly recalled the circumstances surrounding the picture. 'Well, this was a tremendous sight to be seen, and I had to beg everybody in the car to help me to get everything out, to get the tripod. And the magnificent white mountains, clear day, church [with] a flat adobe roof, and the moon [that] was up about, oh, 30 degrees, several days before full. And there was a long line of clouds here, the sun was just running low behind them, putting the light on white crosses. I think it was one of the great scientists who said that ‘chance favors the prepared mind,’ and in this case I had to be sufficiently prepared to make this work. I instinctively felt I had quite the extraordinary image, and I think you know it.' It was a remarkable achievement in an otherwise disappointing day that had yielded little success along the Chama River valley on November 1st, during Adams' commission to photograph the Southwest by the U.S. department of the Interior and the U.S. Potash Company of New Mexico.
“We were sailing southward along the highway not far from Española when I glanced to the left and saw an extraordinary situation—an inevitable photograph.” Ansel Adams
In the original version of the image, which captures a moon rising over the Sangre de Cristo Mountains sprawled over northern New Mexico, the sky is noticeably more even, light and flat. It is believed that between 1941 and 1948 Adams made only ten prints from the 8 x 10 camera that show the original tonality of the composition. However, following demand for the image after its publication in Camera Annual in 1943, in December of 1948 Adams reprocessed the negative, submerging it up to the horizon line in Kodak IN-5, subsequently yielding a strong intensification effect, from which the new era of Moonrise, Hernandez prints began, showing a darkened sky, a brighter moon, feathery clouds and stronger contrasts within the buildings in the foreground. Gradually, Adams increased the size of his prints of the image, culminating in what he termed the ‘mural-size’, of which the present lot is an example. Like most mural-size prints, this one is not signed. It is believed that only a dozen mural size prints of Moonrise, Hernandez have been made.
~ Christie’s 2021
- Creator:Ansel Adams (1902-1984, American)
- Creation Year:1958
- Dimensions:Height: 19.63 in (49.87 cm)Width: 15.25 in (38.74 cm)Depth: 1.65 in (4.2 cm)
- Medium:
- Period:
- Condition:The original gelatin silver print is in excellent condition. The mount board has yellow slightly where the window was cut out. Overall, very good condition.
- Gallery Location:Carmel-by-the-Sea, CA
- Reference Number:1stDibs: LU11516011822
Ansel Adams
The San Francisco–born photographer Ansel Adams is celebrated for his majestic black-and-white photography that brought the deserts, mountains and forests of the American West to the public. His images, beloved for their raw beauty and the magic of their subjects, are known around the world and widely reproduced as calendars and posters.
A sickly child with little attraction to sports or games, Adams early on developed an avid interest in the natural surroundings of his San Francisco home, on the heights facing Golden Gate Park. This passion found a productive outlet in photography, which he discovered at 14, when his father gave him his first camera during a family trip to Yosemite National Park. He spent much of the ensuing decades capturing Yosemite’s vast and varied wonders.
Adams’s photographs were first published in 1921. Even these early efforts demonstrate his eye for composition and his sensitivity to tonal balance and textural contrast. In the mid-1920s, he began to play with soft focus, as in the dreamy 1927 Lyell Fork Meadows, which appears bathed in a hazy, nostalgic light. The 1948 Sunrise over Sand Dunes in Death Valley exemplifies Adams’s later experiments with stark contrasts in light and geometric framing, which transform the landscape into a near abstraction.
Find a collection of Ansel Adams photography today on 1stDibs.
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