Ansel Adams, Signed (209 results)

Folio. (17 x 12 1/2 inches). [6] preliminary pages followed by [14]pp. of text. 12 original mounted photographs, printed on Dassonville paper by Ansel Adams, various sizes to 9 x 6 1/2 inches, each with a corresponding caption leaf. Publisher's tan morocco backed orange cloth, spine with raised bands in six compartments, marbled endpapers. Housed in a custom morocco backed slipcase. From an edition of 108 numbered copies signed by the author and the photographer, containing magnificent photographs by Ansel Adams. Possibly the most famous of modern photographic works on the West, Taos Pueblo was a collaboration between the young photographer, Ansel Adams, and one of the most evocative writers on the Southwest, Mary Austin. An elegant design by the Grabhorn Press provides a counterpoint to Adams' photographs of the adobe Pueblo. The book distilled the romance and naturalism that many Americans found in the Indian pueblos of New Mexico, and defined the style that was to make Adams the most popular of photographers of the American West. "It was at Taos and Santa Fe that Ansel Adams first saw the Southwest. The time was the spring of 1927. His visit resulted in a Grabhorn Press book now of legendary rarity. It includes Ansel Adams' photographs and Mary Austin's essay on Taos Pueblo. Genius has never been more happily wed. Nowhere else did she write prose of such precise and poetical authority . Their Taos Pueblo is a true and beautiful book by two consummate artists" (Ansel Adams: Photographs of the Southwest, 1970, p. xxv). Produced in a small edition, the book is difficult to obtain today. This example is signed by both Austin and Adams and is in beautiful condition. One of the greatest books produced by the Grabhorn Press and featuring beautiful photographs by Ansel Adams, it is a landmark of American photographic depiction of the Southwest. Heller & Magee, Grabhorn Bibliography 137; Roth, The Book of 101 Books 58.

Hardcover. Condition: Fine condition. First limited edition. Signed Ansel Adams on colophon. 107/250. Original half leather over tan cloth with blind-stamped lettering on Morocco label of cover; housed in a matching clamshell box with blind-stamped lettering on Morocco label of spine. Textured brown endpapers. Block with glossy paper. Frontispiece photograph. Introduction by Paul Brooks. Illustrated with 116 full page photographs by Ansel Adams. Each copy is accompanied by a separately packaged photograph of approximately 16 by 20 inches silver gelatin print, mounted on a 22 by 28 inch archival board with a cutout overmat. Five different photographs of 50 copies each were issued for this edition of 250. Ours is # 6 of 50, titled "Juniper, Cliffs and River, Upper Merced River Canyon, Yosemite National Park", ca. 1936. Ansel Adams personally printed and signed each photograph especially for the publication of this deluxe edition. For this purpose, five images were selected from the book and fifty prints prints were made of each image. Each series has been numbered from 1 to 50.

Hardcover. Condition: Near fine. Dust Jacket Condition: good. First Edition. 112p quarto, illustrated Texts and photographs by Ansel Adams. Extremities a little bumped and rubbed else near fine in good dust jacket with some moderate overall chipping, mostly visible on the front panel. Inscribed on the verso of the front fly: "For M.H. Pollock with good wishes of Ansel Adams Feb 1946" A photo essay on the interned Japanese Americans at Manzanar. Adams made little attempt to hide his contempt for the policy. Rare either in jacket or signed, this is both.

Condition: Near Fine. First edition. The famous early collection of Ansel Adams photographs taken along the John Muir Trail in the Sierra Nevada mountains of California. Limited to 500 copies, each signed by the artist, with 50 tipped-in photographic reproductions. A Near Fine copy with just slight wear at the spine ends and trivial soiling to the white cloth boards; internally with all plates in excellent condition. A classic work from one of America's foremost photographers and environmentalists. Adams was famous for pioneering a number of important techniques which helped mark his signature black and white style and was, during his lifetime, "recognized as the foremost landscape photographer on earth." (The Atlantic) "Sierra Nevada: The John Muir Trail" was compiled as a collection of Adams' work in an attempt to preserve Sequoia and Kings Canyon and have them declared as national parks - which happened two years after publication, in 1940, in part as a result of this book. The collection includes some of his most famous work, such as Half-Dome. John Szarkowski, Director of Photography at MOMA wrote: "Ansel Adams attuned himself more precisely than any photographer before him to a visual understanding of the specific quality of the light that fell on a specific place at a specific moment. This sensibility to the specificity of light was the motive that forced Adams to develop his legendary photographic technique." Adams himself was awarded the Presidential Medal of Freedom in 1980. Near Fine.

Ansel Adams Archive. Three Typed Letters Signed, 1957 and 1968. Adams refers to photographers Alfred Stieglitz and Edward Stiechen and his Family of Man exhibit at MOMA in the second letter and Stieglitz. Edward Weston, Minor White and himself in the third letter. He gives advice on a film developing process in the first and second letters. Each letter is on different personalized printed address stationery and all are addressed to Steurat Oring who was photography student at Rochester Institute of Technology (RIT) at the time. April 11, 1957, San Francisco, 1 page, 4to. "Now, about your Pyrocatechin Project.I do not have any Zone-system data on this developer which could be of use. especially with the modern films. It is a 'tanning' developer and you might have serious trouble with it used on the new thin-emulsion films." He offers five suggestions, asks to know how his suggestions turn out and signs in full with black crayon, "Ansel Adams." In is own hand he adds,"and 'normal' developing time," at the end of his third suggestion. Pyrocatechin is used in developing film. This letter is 8 1/2 x 11 inches. Condition: Narrow bend at the bottom creasing the bottom of the "A" in Ansel and across part of the paraph under the signature but page and signature are intact. April 23, 1957. San Francisco, 2 pages, 4to. Adams apologizes for a short letter because he is, "in a real jam of work." He continues his comments on Pyrocatechin. "I am glad you have been getting results with Pyrocatechin. It is a tricky developer.The Kodak Rapid Selenium toner works fine---is MUCH safer than trying to mix your own - selenium is a DEADLY poison.use rubber gloves when toning.I always have a hard time understanding the meaning of GAMMA IN CREATIVE WORK.what concerns us most are the density (or opacity) ranges of our negatives." After a more technical discussion he writes about fellow photographer Alfred Stieglitz (1864-1946). Stieglitz significantly expanded the domain of photography into the art world. "Stieglitz was a great man.The spirit of craftsmanship is being violated on every hand. Such exhibits as the Family of Man are a disgrace to the art and craft of photography! There were some beautiful images in that collection but the lack of feeling and sensitivity were painful indeed. Stieglitz would have turned over in this Grave." Adams adds an ending comment and signs in red ink, "Ansel Adams." Adams refers to photographer Edward Steichen's "Family of Man" photography exhibit at MOMA, in 1955, two years prior to this letter. Adams was not alone in his criticism of Steichen, who served as Director of the Department of Photography at The Museum of Modern Art since 1947. February 18, 1968. Carmel, CA, 8vo. Adams compares photographers including himself. "the only relationship that can be firmly established between Stieglitz, E[dward] Weston, Minor White and myself relates to a common effort to work in the domain of straight photography, with expressive intention.I am closer to E. Weston.in the physical sense (technique, materials, etc.) but I am closer to Stieglitz in the esthetic.(in the spiritual approach). Minor White of [sic] far more concerned with the extreme subjective approach." His final comment looks to the future of photography. ".the next stage of photography will relate to an awareness of man's condition and the future of his environment." He signs this third letter in blue ink, "Ansel Adams." Three punch holes on the left margin and a small fold at the lower right edge. A fine trio of substantive letters.

Hardcover. Condition: Good. 1st Edition. First Edition. Worn and some stains (not affecting photos) but still a collectible copy of this monumental Adams work. Ansel Adams, at the age of 36, was commissioned to prepare a book of his photographs taken along the world famous John Muir Trail as a tribute to Walter A. Starr, Jr., a young American mountaineer. A landmark book in photography, the 1938 limited edition of Ansel Adams Sierra Nevada: The John Muir Trail, was recognized as the highest quality photography book at the time. Representing the finest selection of Adams photographs of the High Sierra. White cloth with black printing. Folio limited to 500 copies. 50 tipped in illustrations of Adams' photos. Not much text, Signed by Adams on the limitation page. A stunning volume of some of Adams' best work. Housed in a gorgeous and sturdy custom-made clamshell case with leather label.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. FIRST EDITION, DELUXE ISSUE, one of 1000 copies signed by Ansel Adams and with additional silver print signed by Adams. A FINE COPY. A magnificent production, illustrated throughout with duotone reproductions of Ansel Adams's evocative photographs. Foreward by Wallace Stegner. With the rare signed silver print "Fern Spring, Dusk, Yosemite Valley, California" (12.25 x 9 inches) loose and mounted as issued. Boston: New York Graphic Society, 1974. Oblong folio, original black cloth, original photographic dust jacket; housed in original silver-stamped clamshell box and original shipping box. In fine condition with book still shrink-wrapped.

No Binding. Condition: Fine. Gelatin silver print, the negative c. 1950, image/sheet 8-1/2 x 6-1/2 in. (21.6 x 16.5 cm), mounted on cream board 12 x 10 in. (30.5 x 25.4 cm); printed by Adams c. 1960; signed in ink (mount, recto, below lower right corner of image); titled in pencil, with CCP and AAPRT stamps and other notations (mount, verso). Exemplary condition. Among the tributes on p. 84 of the 1965 Aperture monograph, of which this image is the frontispiece, Adams says of his friend, mentor and colleague: "Weston is, in the real sense, one of the few great creative artists of today. He has recreated the mother-forms and forces of nature; he has made these forms eloquent of the fundamental unity of the world. His work illuminates man's journey toward perfection of the spirit." Literature: Nancy Newhall (ed.), Edward Weston Photographer: The Flame of Recognition (Rochester: Aperture Inc., 1965), frontispiece. John Szarkowski, Ansel Adams at 100 (Boston: Little, Brown and Co., 2001) (the touring centennial exhibition organized by San Francisco Museum of Modern Art), p. 24 and fig. 14. Provenance: Center for Creative Photography, University of Arizona (no. D15x28), given by the photographer alongside the Ansel Adams Archive as an unaccessioned duplicate intended to benefit the endowment. Examples of this image are rare. Apart from the four archive prints at CCP (with incrementally different tonalities and croppings), the print gifted by Adams to the Museum of Modern Art (487.1965), the print in the Amon Carter Museum (P1969.20) and the print in the encyclopedic Lane Collection gifted to the Museum of Fine Arts Boston in 2018, no print has been found, inter alia, at MMA, NGA, Art Institute Chicago, MFA Houston, Getty or LACMA, or in the former Library Collection assembled by Adams for Polaroid. In his magisterial centennial monograph Szarkowski compares this image to a Holbein. Signed by Author(s).

No Binding. Condition: Near Fine. Drawings By Pasquale Giovannio Napolitano And Merle Armitage (illustrator). 1st Edition. An Archive Of About 200 Original Items Which Are From, To, Or About Merle Armitage, Carefully Stored 1935-2015. Much Of The Correspondence Is Between Armitage And Pasquale Giovanni Napolitano Regarding The Illustrations Provided By Napolitano For 18 Armitage Books 1934-1970, With Many Drawings And Photographs, And Also A Few Personal Letters And Notes. The Archive Also Includes Much Printed Ephemera Relating To Armitage Circa 1934-1965, Including Some Rare Pieces, Collected By Napolitano 1935-1980. Included Also Are A Few Letters Between The Armitage Family And Napolitano And In A Few Cases His Wife Emmie Goetz Napolitano. A Detailed List Is Available Upon Request, Along With A 250 Page Inventory Of The Rest Of The Napolitano Archive. Signed by Author(s).

Unbound. Condition: Fine. Typed letter signed on personal letterhead dated September 17, 1975. Normal folds do not affect signature. "Dear Lou, / I recall you with pleasure and very much appreciate the / letter and the copy of the book. I will forward same to the / Exhibitions Committee of the Friends of Photography as it / might very well interest them, especially because of your / previous contacts with Edward Weston. / My best wishes, / Ansel Adams". This is a wonderful letter with great content in that it mentions another great American photographer, Edward Weston. This would be a great addition to anyone's collection. Fine Condition. Signed by Author(s).

custom folder. Condition: Very Good. First edition. A LONG LETTER TO A FELLOW PHOTOGRAPHER WITH REVEALING TECHNICAL INFORMATION ABOUT THE PHOTOGRAPHIC PROCESS. Written by Adams to fellow photographer Nicholas Dean, this letter engages many topics: first listing off a variety of impressive engagements and exhibits the two were involved with at the time, then settling finally on a detailed section on photographic techniques and tips. Adams explains first that he was arranging the logistics of a film about his life with art curator Beaumont (Newhall) which had been officially released the year before (1958). Then Adams goes on to congratulate Dean for his recent exhibition - a collection of photographs of the Boston Symphony Orchestra - and makes reference to an article called "Swell Egg" written in The New Yorker in October 1953 about the important American landscape photographer Paul Caponigro. Even in the first sentences, it becomes clear how well-ensconced Adams was in the photography world, how up-to-date he was with new developments and exhibits, for "photography was his calling, his métier, his raison d'être." ( Britannica ). Yet, what Adams seems most particularly interested in in this letter, however, is the light meter. These analog devices were used by photographers to 'read' the light in a situation, and then transfer the exposure information to a camera. Here, Adams makes reference specifically to the Weston meter - the most popular instrument of use by professionals at the time. In a marvelous moment of self-reference, the photographer uses the term "Zone VI value," while trying to explain to Dean how non-Weston meters misrepresent optimal "brightnesses." These "zone values" (numbered 0-X) were, in fact, formulated by Adams and Fred Archer, another celebrated American photographer, as part of the Zone System, a photographic technique for determining optimal film exposure and development. Based on a meticulous study of sensitometry (scholarship around which reached as far back as the 19th century) and written up extensively by Adams in one of his ten manuals (The Negative), the Zone System allowed for photographers to define a relationship between the way they visualized the photographic subject and the final results. This invention became so widely-used that starting in 1966, the scale was printed directly onto the Weston light meters. Adam's counsel to Dean, moreover, extended beyond the pre-photographic moment of light measurement. At the top of the letter are a series of instructions on how to develop photos - what developer to use, how long to sit in the water, at what angle to place the photograph in the tray. What this letter brings clearly to the fore, then, is Adam's "technical mastery [.] More than any creative photographer, before or since, he reveled in the theory and practice of the medium." ( The Ansel Adams Gallery ). The letter, typed on one 8.5x11 inch sheet of Adams's stationery with "ANSEL ADAMS" printed in red in large type at the top and his San Francisco address below it to the right, is dated December 7 '59 and reads in full: Dear Nick - - Good to get your two letters. This is just a rush reply because they are working out that Television movie with me (Beaumont is here) and things are hectic! Your picture which I returned was excellent ! Cheers for Symp. Hall exhibit! Camponiegro [sic] swell egg - have 3 prints of his for Polaroid collection. This "reading-in" business - Brrrrrrr!! You are still a bit haywire with the Meter business !!! The Weston is a pretty accurate device to read brightness in c/ft2. Pointing the meter down is merely a crutch and would help only with dark-gray pavement or grass. The fact that other meters give accurate readings when the Weston gives 1/2 optimum reading merely shows that those other meters are calibrated to overcome the statistical "average" brightnesses. However - read a single gray (or white, or dark) surface with those other meters and you will get near Zone VI value. The question is merely this - do you w.

Cloth. Condition: Near Fine. Dust Jacket Condition: Very Good Plus. [photographs] (illustrator). First Edition. Hastings-on-Hudson, New York: Morgan & Morgan, various dates. All five titles in Ansel Adams' Basic Photo Series, four of them signed by Adams. Basic Photo One: Camera and Lens. First Revised Edition, 1970. Signed on the title page. Small quarto. Near fine in better than very good jacket. Basic Photo Two: The Negative. New Revised Edition, 1966. Signed on the title page. Octavo. Previous owner's writing on endpapers, else near fine book in very good jacket. Basic Photo Three: The Print. New Edition, 1968. Signed on the title page. Octavo. Near fine book in better than very good jacket. Basic Photo Four: Natural-Light Photography. Sixth printing of the first edition, 1969. [not signed]. Octavo. Near fine book in better than very good jacket. Basic Photo Five: Artificial-Light Photography. Fourth printing of the first edition, 1968. Octavo. Signed on the title page. Near fine book in about very good jacket with soil, rubbing and some rippling. All five books have the small acorn stamp of Best's Studio, Yosemite Valley, on the rear pastedown, for the collector of old bookseller's stamps. dams still seminal and much-sought series for the aspiring photographer, complete, in nice shape and with four Ansel Adams signatures. Not much else need be said. L19n. Signed by Author(s).

First Edition. SIGNED by Ansel Adams. Folio; 97pp. Illustrated with thirty views of U.S. National Parks from Maine to Hawaii (printed recto identified on facing pages and with photographic notes for each image at the end, along with a 'A Selected List for General Reading'. Publisher's spiral-bound stiff covers with black lettering in original photo-illustrated dustjacket; housed in uncommon publisher's shipping box with printed label. The book and dustjacket are in unusually fine condition; the box is somewhat worn with foxing. The photo-engravings depict national parks and natural monuments across the United States and the territories of Alaska and Hawaii and are among Adams's most celebrated landscapes. In his introductory essay, Adams underscored the "moral sublime" of his images, framing the book as a testament to the significant role nature played in American society and calling on the public to engage with and protect their shared national heritage.

Condition: Near Fine. Dust Jacket Condition: Near Fine. First Edition. First edition, signed by Ansel Adams on a preliminary blank. In publisher's original spiral-bound stiff white wraps printed in black. Near Fine or better with faint foxing to textblock edges, in a Near Fine dust jacket with a shallow chip at the head, several tears and some short splits started at the folds but on the whole an excellent example of the jacket, which usually turns up much worse for wear and rare thus.

First edition, first printing in this format. No. 895 of 950 copies signed by Adams. This is a facsimile edition of Adams' book first published in 1930, which was limited to 108 copies. Folio. Original brick cloth with brown leather spine bound by Vincent Mullins. Housed in a brick cloth slipcase. With 12 black and white photographic reproductions by Adams. All in fine condition.

Hardcover. Condition: As New. Limited Edition. Folio. Signed limited edition; Number 219 of 950 copies signed by Ansel Adams on the limitation page. Quarter bound tan leather over orange linen cloth, in publisher's orange linen slipcase. Near Fine, with several faint scratches to cloth and leather spine, else Fine. A facsimile edition of the rare 1930 edition, of which only 108 copies were originally privately printed for Ansel Adams. Extra postage will be required for international shipment, please contact us first for rates.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition, Special Edition. My Camera in the National Parks ~ SIGNED by ANSEL ADAMS ~ First Edition In Original Shipping Box. My Camera In the National Parks by Ansel Adams. Boston: Virginia Adams, Yosemite National Park, and Houghton Mifflin, 1950. First edition, signed by the Ansel Adams on front free endpaper. In publisher's original spiral-bound stiff white wraps printed in black. Near Fine or better with faint foxing to textblock edges, in a Near Fine dust jacket with a shallow chip at the head, several tears and some short splits started at the folds but on the whole an excellent example of the jacket, which usually turns up much worse for wear and this rare, especially in the original shipping box which is almost unheard of. Scarce find. Signed by Author(s).

Hardcover. Condition: Near Fine. 1st Edition. One of 1000 copies signed by Ansel Adams. With 115 extended range photolithographic reproductions. 35x43 cm (13¾x16¾"), cloth lettered in silver gilt; dust jacket, publisher's slipcase. First Edition. Inserted leaf at the front, signed by Adams beneath the printed statement: "This copy [.] is one of a special edition prepared for Time-Life Books subscribers with the signature of the photographer." Slight wear to slipcase; jacket slightly toned and worn; signature leaf loose; near fine. Signed by Author(s).

Limited SIGNED facsimile edition, 756 of 950 copies, signed by Adams. 12 b/w photographs by Adams, woodcut decorations by Valenti Angelo. Folio. Facsimile edition of Adams's first book, published by the Grabhorn Press in 1930 and now extremely difficult to attain in its first printing. "Possibly the most famous of modern photographic works on the West" (Reese). Cf. Roth 101, pg 58-59 & Reese, The Best of the West, no. 242 (for first edition). Provenance: photographer Richard Corman (gift inscription on flyleaf) Quarter leather and cloth, light scuffing to spine, else fine in sunned slipcase 12 b/w photographs by Adams, woodcut decorations by Valenti Angelo. Folio Limited SIGNED facsimile edition, 756 of 950 copies, signed by Adams.

First edition, first printing in this format. No. 944 of 950 copies signed by Adams. This is a facsimile edition of Adams's book first published in 1930, which was limited to 108 copies. Folio. Original brick cloth with brown leather spine bound by Vincent Mullins. Housed in a brick cloth slipcase. With 12 black and white photographic reproductions by Adams. All in fine condition.

Hardcover. Condition: Fine. First edition thus. With 12 fine-screen duotone photographic plates by Adams. New afterword by Weston J. Naef. Folio, measuring approximately 12¾" x 17¾". Niger leather-backed clothcovered boards in clothcovered slipcase. Fine in near fine slipcase with a small, very faint stain in one corner. Copy 200 of 950 copies Signed by Adams on the limitation page. Printed by Lawton and Alfred Kennedy, title page with a design by Valenti Angelo, and bound by Vincent Mullens. A nicely produced facsimile of the rare 1930 edition, which was published in only 108 copies.

Soft cover. Condition: About Fine. Original Manuscript. Carmel, California, 1964. Ansel Adams typed letter signed [TLS]. Two horizontal folds and one slight vertical fold to letter, else about fine. Photo is fine. Lengthy, warm, full-page letter from Ansel Adams - dated January 8, 1964, and on his letterhead - to "I.R." (Irving Robbins, a noted California collector). Not written to a stranger; in it, Adams apologizes for being ill at their last meeting and promises to be "full of beans" next time. Also referenced in the letter is another notable California photographer, aerial photographic artist and author William Garnett, about whom Adams says: "He is a GREAT photographer ! I am sure no one has approached him in creative work from the air." Signed, of course, at the close. The photograph, entitled Rocks and Limpets, Point Lobos, 1963, is on folding photographic card stock, with "Virginia & Ansel Adams" printed on the cover, and was executed by Lawton Kennedy, engraving by the Walter J. Mann Company, from an enlargement of a Polaroid Land 4 x 5 Type 55 P.N. Negative. Unique aggregation. Photo is in fine condition. L-32. Signed TLS.

Hardcover. Condition: Fine. Limited Edition. Graphic Society, 1977. Taos Pueblo. Signed Limited Edition. SIGNED BY ANSEL ADAMS. Condition: Fine. Light smudging to blank page. Otherwise, in excellent condition. Slipcase. Signed by Author(s).

Adams, Ansel (illustrator). Facsimile of 1930 edition. Folio, unpaged, 12 full-page duotone plates after photographs. Quarter tan leather and orange linen, title debossed in the leather on the front board Housed in the publisher's plain orange linen slipcase. A fine copy. Limited to 950 numbered copies, SIGNED by Adams. A facsimile of this most rare of Adams' published books which was limited to 108 copies.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. HBDJ, 1941 ON COPYRIGHT PG , 1ST edition, BK VG+ /GOOD- CONDITION DJ , AS-IS, SCRATCHED & Rubbed SCUFFED TINY & Small Creases EXTREMITIES CHIPS DJ, OBLONG 8 VO, BEIGE & Red Illustrated BOARDS cover , AS-IS, strong binding. A very rare ANSEL ADAMS book - featuring children in his beloved Yosemite Valley. VERY COLLECTIBLE. decent surviving condition for the appreciator of Ansel Adams photography, SIGNED WITH MUCH LOVE FROM UNCLE DON ,WHO IS Featured PHOTO OF HIM & 2 KIDS ON HORSEBACK in Book Scarce copy of Ansel and Virginia's collaborative work of juvenile literature featuring their two children on an idyllic voyage around their home in Yosemite Valley. Extremely Rare Ansel Adams Children's Book. Michael and Anne are the children of Virginia and Ansel Adams. The pictures in this book where taken by Ansel Adams in Yosemite. Rare and unique images. f Ansel and Virginia's collaborative work of juvenile literature featuring their two ch. Signed by Author(s).

Hardcover. Condition: As New. Not a book. Original black & white portrait of the great American photographer Ansel Adams with original presentation signature by Adams, dated 11-11-68 and taken by Redlands, California, photographer, Jim (James) Sloan, to whom the portrait is inscribed with narrow black felt pen. Image size 7 1/8" x 9 1/16". This photo was professionally applied by the Perma Plaque Company to wooden plaque board & lightly coated with an impervious solution. The Perma Plaque Company has long been famous for preserving valuable objects. Since the taking of the photo (and presumably the placing of it on the board soon thereafter) and during the many years your seller has owned the photo, there is no visible evidence of any discoloration or degradation to the photo. Board size: 9 7/8" x 11 7/8". Gold trim. A unique item & a great Adams collectible. This portrait of Adams appear (without the presentation) on page 64 in Sloan's book, More Faces + Faces, published in 1970. A copy of that book, inscribed by Sloan, comes with this original photograph.

Folio, original cloth covered boards with calf spine. One of 950 copies, signed by Adams, printed by Lawton Kennedy, the photographs printed in duotone by George Waters at Pacific Litho. This edition, an excellent facsimile of the rare 1930 first edition, contains a new afterword by Weston Naef. Fine condition with slipcase, as issued. With a laid-in autograph of Ansel Adams on an insert from a roll of Tri-X film.

First edition. Number 76 of 310 copies SIGNED BY BOTH JEFFERS AND ADAMS, with Jeffers signature at front and Adams at bottom of his frontis photograph of Jeffers. Introduction by B. H. Lehman; decorative initials by Valenti Angelo; printed by The Grabhorn Press. Small 4to dark blue-green buckram boards, spine label lettered in orange; in gray-green paper-covered slipcase. Near fine with cloth at spine slightly mellowed but label still bright; in near fine slipcase with few tiny corner nicks. [Broomfield A7].

Hardcover. Condition: Very Good+. Dust Jacket Condition: Very Good+. 2nd Printing. Second printing, hardcover, inscribed by Adams on half title, has a very slight lean, light foxing to edges of text block, otherwise a solid, sharp, clean VG+ copy in like dustjacket which has a light bump to base of spine, very slight bumps to top of spine and corners, sunning to spine, and light rubbing.

Hardcover. Condition: Fine. Dust Jacket Condition: very good. 1st Edition. Second Printing. 128 pp. Black and gray cloth, gilt initials with dust jacket. Illustrated end paper. Contains reproduction approved and initialed by Ansel Adams. "Winter Sunrise, Sierra Nevada, from Lone Pine, California 1944"Small tear on back of dust jacket. Book in excellent condition.