Ansel Adams, ‘Portfolio Four: What Majestic Word. In Memory of Russell Varian’, 1963, Phillips

San Francisco: Sierra Club
Varying dimensions from 6 3/4 x 8 7/8 in. (17.1 x 22.5 cm) to 10 x 12 3/4 in. (25.4 x 32.4 cm) or the reverse

Titles include: Teklanika River Mount McKinley National Park, Alaska, 1947; Sequoia Roots, Mariposa Grove Yosemite National Park, California, circa 1950; Leaf, Glacier Bay National Monument, Alaska, 1948; Dunes, Oceano, California, 1963; Cathedral Peak and Lake Yosemite National Park, California, circa 1960; Vernal Falls, Yosemite Valley, California, circa 1948; Clearing Storm Sonoma County Hills, California, 1951; Oak Tree, Sunset City Sierra Foothills, California, 1962; Castle Rock Summit Road Above Saratoga, California, 1963; Northern California Coast Redwoods, circa 1960; Orchard, Early Spring, Near Stanford University, California, circa 1940; Siesta Lake Yosemite National Park, California, circa 1958; Storm Surf, Timber Cove, California, circa 1960; Tuolumne Meadows Yosemite National Park, California, 1941; Sierra Nevada, Winter Evening from The Owens Valley, California, 1962

Signature: Each signed in ink on the mount; numbered 108 in ink on the Portfolio label affixed to the reverse of each mount. Numbered 108 in ink on two colophons. Letterpress paper folios. Enclosed within a gray linen clamshell portfolio case with gilt letters and title. Number 108 from an edition of 260, of which 250 were for sale.

Szarkowski, The Portfolios of Ansel Adams, pls. 1-15 (Part IV)
Alinder and Szarkowski, Ansel Adams: Classic Images, pls. 23, 48, 55, 68
Stillman, Ansel Adams: 400 Photographs, pp. 228, 230, 328, 330, 344, 351, 390, 391, 399, 403

Acquired directly from Dorothy Varian of the Varian Foundation
by descent to the present Private Collection

About Ansel Adams

Ansel Adams is widely regarded as one of the most famous photographers of all time, particularly in reference to his striking images of the American wilderness. Adams placed great value upon technical mastery of his craft, carefully evaluating gradations of light in the image, manipulating degree of exposure, and constantly experimenting with new techniques. Along with contemporaries Imogen Cunningham and Edward Weston, Adams founded the group f/64, devoted to what they termed “straight photography,” as opposed to staged or embellished images. Adams was also pivotal in the establishment of the Department of Photography at the Museum of Modern Art.

American, 1902-1984, San Francisco, California