16
Ansel AdamsAspens, Northern New Mexico
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Beschreibung
Ansel Adams
Aspens, Northern New Mexico
Späterer Gelatinesilberabzug. 38 x 48,1 cm. Auf Originalkarton aufgezogen, dort unterhalb des Bildes rechts mit Bleistift signiert. Rückseitig mit Photographenstempel, darin mit Filzstift datiert und betitelt. - Unter Passepartout montiert.
Provenienz
Privatbesitz, Norddeutschland
Literatur
Nancy Newhall, Ansel Adams, This is the American Earth, San Francisco 1992, Abb. auf dem Buchcover; Janet Swan Bush (Hg.), Trees. Photographs by Ansel Adams, New York u.a. 2004, S. 8 mit Abb.; Andrea G. Stillman, Looking at Ansel Adams. The Photographs and the Man, New York 2012, S. 198 mit Abb.
Die ikonische Aufnahme einer jungen Espe im gleißenden Sonnenlicht vor dunklem Hintergrund entstand an einem schönen Herbstnachmittag in der Nähe der Sangre de Cristo Mountains, in den südlichen Ausläufern der Rocky Mountains. An diesem Nachmittag war es so windstill, dass sich das sprichwörtlich zitternde Espenlaub nicht bewegte und Adams ein Negativ ohne jede Bewegungsunschärfe gelang. Aber er begnügte sich nicht damit, ein scharfes Negativ herzustellen, mit dem sich später in der Dunkelkammer gut arbeiten ließ. Vielmehr war es sein Anliegen, den Farbeindruck des Herbstwaldes in der Sonne bereits während der Aufnahme einzufangen, um ihn später in die Schwarz-Weiß-Photographie übersetzen zu können. Hierzu bediente er sich des „Zonensystems“, einem bis heute verwendeten Verfahren, das Adams 1939-41 zusammen mit Fred R. Archer entwickelt hatte und später in zahlreichen Publikationen und Abhandlungen immer weiter theoretisch ausgearbeitet und vertieft hat. Dieses Verfahren erlaubt es dem Photographen, die Belichtung und Entwicklung des Negativs genauestens zu berechnen und somit die Silberdichte und Grautonwerte des späteren Abzugs durch präzise Planung vorab zu bestimmen. Die Tonwerte sind dabei in 10 Stufen - von Schwarz über Grau bis Weiß - aufgeteilt.
Adams beschrieb den Prozess für das hier vorliegende Motiv folgendermaßen: „Ich legte den tiefsten Schatten auf Zone II und stellte Normal-plus zwei als Entwicklungszeit ein. Ich habe für dieses Motiv Pyro als geeigneten Entwickler ausgewählt, weil ich wusste, dass es den glitzernden Herbstblättern eine hohe Konturenschärfe verleihen würde. Ich wusste, dass ich einen höheren Papierkontrast für den Druck benötigen würde, da die höchsten Werte der Blätter etwa auf die Zonen VI-VI1/2 fielen. So wie ich mich erinnere, betrug die Belichtungszeit mit dem Filter Nr. 15 (Faktor 3) eine Sekunde bei f/32 auf Kodak Panatomic-X Film bei ASA 32. Wegen der Windstille war diese relativ lange Belichtung möglich, denn wenn die Espenblätter gezittert hätten, hätte ich ein schweres Problem gehabt.” (zit. nach Andrea G. Stillman, a.a.O., S. 202)
Bei aller wissenschaftlichen Genauigkeit und Obsession für die technische Seite der Photographie, die in diesem Zitat zum Ausdruck kommt, ist es wichtig festzustellen, dass Adams das später vollendete Werk visuell bis in jede Nuance schon vor Augen hatte, bevor er den Auslöser betätigte. Er war also nicht nur ein Meister der Kameratechnik und Dunkelkammer, sondern vor allem auch ein Meister der Empfindung. Die Kongruenz zwischen seiner 'Vision' - der eines zarten Bäumchens im letzten Aufflackern der goldenen Herbstsonne - und deren Umsetzung in die Schwarz-Weiß-Photographie ist einzigartig, das Ergebnis ein Meisterwerk der Landschaftsphotographie.
Ansel Adams
Aspens, Northern New Mexico
Gelatin silver print, printed later. 38 x 48.1 cm. Flush-mounted to original card, signed in pencil below the image on the mount. Photographer's stamp, therein dated and titled in felt tip pen, on the reverse of the mount. - Matted.
Provenance
Private property, Northern Germany
Literature
Nancy Newhall, Ansel Adams, This is the American Earth, San Francisco 1992, ill. on front cover; Janet Swan Bush (ed.), Trees. Photographs by Ansel Adams, New York i.a. 2004, ill. p. 8; Andrea G. Stillman, Looking at Ansel Adams. The Photographs and the Man, New York 2012, ill. p. 198
The iconic photo of a young aspen tree in the glistening sunlight against a dark background was taken on a beautiful autumn afternoon near the Sangre de Cristo Mountains, in the southern foothills of the Rocky Mountains. On this afternoon, it was so calm that the leaves did not move and Adams managed a negative without any motion blur. But he was not satisfied with just making a crisp negative that would be easy to work with later in the darkroom. He was rather concerned with capturing the colour impression of the autumn forest in the sun during the photo session in order to be able to transform it into black-and-white photography later. To this end he made use of the 'zone system', a method still used today, which Adams had developed in 1939-41 together with Fred R. Archer and which he later elaborated and expanded theoretically in numerous publications and papers. This method allows the photographer to accurately calculate the exposure and development of the negative and thus determine the silver density and grey tone values of the subsequent print in advance through precise planning. The tonal values are divided into 10 grey shades - from black to white.
Adams described the process for the present motif as follows: 'I placed the deepest shadows on Zone II and indicated Normal-plus-two development time. I selected pyro as the approriate developer for this subject, because I knew it would give high acutance to the glittering autumn leaves. I knew I must use a higher-than normal paper contrast for printing, since the hightes values of the leaves fell on about Zones VI-VI ½. As I recall, the exposure, with the No.15 filter (factor of 3) was one second at f/32 on Kodak Panatomic-X-film at ASA 32. With no wind this relatively long exposure was possible; had the aspen leaves bee quaking I would have had a severe problem.' (as quoted by Andrea G. Stillman, loc.cit., p. 202)
Despite all the scientific accuracy and obsession for the technical side of photography expressed in this quote, it is important to note that Adams had visualised the completed work in every nuance before he operated the shutter. So he was not only a master of camera technology and the darkroom, but also a master of sentience. The congruence between his ‚vision' - that of a slender tree in the last flicker of the golden autumn sun - and its transformation into black-and-white photography is unique, the result a true masterpiece of landscape photography.
- - -
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
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Ansel Adams
Aspens, Northern New Mexico
Späterer Gelatinesilberabzug. 38 x 48,1 cm. Auf Originalkarton aufgezogen, dort unterhalb des Bildes rechts mit Bleistift signiert. Rückseitig mit Photographenstempel, darin mit Filzstift datiert und betitelt. - Unter Passepartout montiert.
Provenienz
Privatbesitz, Norddeutschland
Literatur
Nancy Newhall, Ansel Adams, This is the American Earth, San Francisco 1992, Abb. auf dem Buchcover; Janet Swan Bush (Hg.), Trees. Photographs by Ansel Adams, New York u.a. 2004, S. 8 mit Abb.; Andrea G. Stillman, Looking at Ansel Adams. The Photographs and the Man, New York 2012, S. 198 mit Abb.
Die ikonische Aufnahme einer jungen Espe im gleißenden Sonnenlicht vor dunklem Hintergrund entstand an einem schönen Herbstnachmittag in der Nähe der Sangre de Cristo Mountains, in den südlichen Ausläufern der Rocky Mountains. An diesem Nachmittag war es so windstill, dass sich das sprichwörtlich zitternde Espenlaub nicht bewegte und Adams ein Negativ ohne jede Bewegungsunschärfe gelang. Aber er begnügte sich nicht damit, ein scharfes Negativ herzustellen, mit dem sich später in der Dunkelkammer gut arbeiten ließ. Vielmehr war es sein Anliegen, den Farbeindruck des Herbstwaldes in der Sonne bereits während der Aufnahme einzufangen, um ihn später in die Schwarz-Weiß-Photographie übersetzen zu können. Hierzu bediente er sich des „Zonensystems“, einem bis heute verwendeten Verfahren, das Adams 1939-41 zusammen mit Fred R. Archer entwickelt hatte und später in zahlreichen Publikationen und Abhandlungen immer weiter theoretisch ausgearbeitet und vertieft hat. Dieses Verfahren erlaubt es dem Photographen, die Belichtung und Entwicklung des Negativs genauestens zu berechnen und somit die Silberdichte und Grautonwerte des späteren Abzugs durch präzise Planung vorab zu bestimmen. Die Tonwerte sind dabei in 10 Stufen - von Schwarz über Grau bis Weiß - aufgeteilt.
Adams beschrieb den Prozess für das hier vorliegende Motiv folgendermaßen: „Ich legte den tiefsten Schatten auf Zone II und stellte Normal-plus zwei als Entwicklungszeit ein. Ich habe für dieses Motiv Pyro als geeigneten Entwickler ausgewählt, weil ich wusste, dass es den glitzernden Herbstblättern eine hohe Konturenschärfe verleihen würde. Ich wusste, dass ich einen höheren Papierkontrast für den Druck benötigen würde, da die höchsten Werte der Blätter etwa auf die Zonen VI-VI1/2 fielen. So wie ich mich erinnere, betrug die Belichtungszeit mit dem Filter Nr. 15 (Faktor 3) eine Sekunde bei f/32 auf Kodak Panatomic-X Film bei ASA 32. Wegen der Windstille war diese relativ lange Belichtung möglich, denn wenn die Espenblätter gezittert hätten, hätte ich ein schweres Problem gehabt.” (zit. nach Andrea G. Stillman, a.a.O., S. 202)
Bei aller wissenschaftlichen Genauigkeit und Obsession für die technische Seite der Photographie, die in diesem Zitat zum Ausdruck kommt, ist es wichtig festzustellen, dass Adams das später vollendete Werk visuell bis in jede Nuance schon vor Augen hatte, bevor er den Auslöser betätigte. Er war also nicht nur ein Meister der Kameratechnik und Dunkelkammer, sondern vor allem auch ein Meister der Empfindung. Die Kongruenz zwischen seiner 'Vision' - der eines zarten Bäumchens im letzten Aufflackern der goldenen Herbstsonne - und deren Umsetzung in die Schwarz-Weiß-Photographie ist einzigartig, das Ergebnis ein Meisterwerk der Landschaftsphotographie.
Ansel Adams
Aspens, Northern New Mexico
Gelatin silver print, printed later. 38 x 48.1 cm. Flush-mounted to original card, signed in pencil below the image on the mount. Photographer's stamp, therein dated and titled in felt tip pen, on the reverse of the mount. - Matted.
Provenance
Private property, Northern Germany
Literature
Nancy Newhall, Ansel Adams, This is the American Earth, San Francisco 1992, ill. on front cover; Janet Swan Bush (ed.), Trees. Photographs by Ansel Adams, New York i.a. 2004, ill. p. 8; Andrea G. Stillman, Looking at Ansel Adams. The Photographs and the Man, New York 2012, ill. p. 198
The iconic photo of a young aspen tree in the glistening sunlight against a dark background was taken on a beautiful autumn afternoon near the Sangre de Cristo Mountains, in the southern foothills of the Rocky Mountains. On this afternoon, it was so calm that the leaves did not move and Adams managed a negative without any motion blur. But he was not satisfied with just making a crisp negative that would be easy to work with later in the darkroom. He was rather concerned with capturing the colour impression of the autumn forest in the sun during the photo session in order to be able to transform it into black-and-white photography later. To this end he made use of the 'zone system', a method still used today, which Adams had developed in 1939-41 together with Fred R. Archer and which he later elaborated and expanded theoretically in numerous publications and papers. This method allows the photographer to accurately calculate the exposure and development of the negative and thus determine the silver density and grey tone values of the subsequent print in advance through precise planning. The tonal values are divided into 10 grey shades - from black to white.
Adams described the process for the present motif as follows: 'I placed the deepest shadows on Zone II and indicated Normal-plus-two development time. I selected pyro as the approriate developer for this subject, because I knew it would give high acutance to the glittering autumn leaves. I knew I must use a higher-than normal paper contrast for printing, since the hightes values of the leaves fell on about Zones VI-VI ½. As I recall, the exposure, with the No.15 filter (factor of 3) was one second at f/32 on Kodak Panatomic-X-film at ASA 32. With no wind this relatively long exposure was possible; had the aspen leaves bee quaking I would have had a severe problem.' (as quoted by Andrea G. Stillman, loc.cit., p. 202)
Despite all the scientific accuracy and obsession for the technical side of photography expressed in this quote, it is important to note that Adams had visualised the completed work in every nuance before he operated the shutter. So he was not only a master of camera technology and the darkroom, but also a master of sentience. The congruence between his ‚vision' - that of a slender tree in the last flicker of the golden autumn sun - and its transformation into black-and-white photography is unique, the result a true masterpiece of landscape photography.
- - -
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
30 Years of Photography at Lempertz - 30 Photographic Masterpieces / Photography
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Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
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Wichtige Informationen
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Different terms on lot level
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
24.00 % buyer's premium on the hammer price
7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
AGB
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, -telephonically or via the internet. The placing of bids in absentia must reach -Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number -becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b – d of the Civil Code) do not -apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
