WELCOME TO THE
 

ALINDER GALLERY

Better art.  Better Life.

 

Gualala, California, USA

Contact us by email alinders@mcn.org or by phone (707) 884-4884

 
     
     
 

Exclusively Fine Photography

 

Specialists in the Photographs of Ansel Adams
   


 

 James G. Alinder &
Mary Street Alinder

Address:
Alinder Gallery
in Seacliff Center
39140 S. Hwy One
P.O. Box 449
Gualala, CA 95445

Phone:
707-884-4884

We offer photographs as works of art.  As biographers of Ansel Adams we are in a unique position to offer our wealth of knowledge in assistance to any collector.

All prices are in U.S. dollars and while we strive to maintain accurate prices on this website, they are subject to change without notice.  Typically there is only one print available of any image and it is in excellent condition.  Please contact us to confirm availability, condition, and current price.

FAQ’S 

Who are the Alinders?

 Mary Street Alinder is an independent scholar specializing in the history of photography. She is the biographer of Ansel Adams and an authority on 20th century photography. From 1979 until his death in 1984 Alinder worked as the chief assistant to Ansel Adams. In 1985, she completed the New York Times best seller, Ansel Adams: An Autobiography, followed by a companion book of letters in 1988. After eight additional years of rigorous research, Alinder's Ansel Adams: A Biography was published in 1996 by Henry Holt & Co.  She has authored, co-authored and edited a number of other books and articles on fine art photography.  Mary has lectured on Adams all over the world.

 James Alinder received a Master of Fine Arts degree in photography from the University of New Mexico in 1968 and spent the next decade as a professor of art at the University of Nebraska. In 1977 at the request of Ansel Adams, he became the executive director of The Friends of Photography in Carmel, developed it into the nation's largest non-profit photography organization.  He has written or edited some forty books on creative photography.  In 1990 they opened the Alinder Gallery in Gualala that is devoted to fine art photography. 

As an artist, his photographs are in many museum permanent collections and he has twice received artist's fellowships from the National Endowment for the Arts.

The Alinders have curated more than 100 exhibitions worldwide, including the 1987 Ansel Adams blockbuster at San Francisco’s de Young Museum and a 2002 Centennial Adams exhibit.

Visiting The Sea Ranch or Gualala?
We are a three hour drive north of San Francisco, on the Pacific Ocean.  We're located on in Seacliff center on Shoreline Highway One in downtown Gualala. Gallery hours are from 12 to 5 pm, or by appointment, closed Tuesday and Wednesday.

Preview of Artwork
Special arrangements can often be made for viewing of artwork prior to sale.

 Framing
The gallery provides framing at additional expense. We exclusively use OP-3 Museum quality ultraviolet filtering Plexiglas.  Please inquire at time of purchase about availability of frames.

Payment
Payment is due at time of sale.  We accept cash, checks and major credit cards.

California Taxes
There is a 7.375% sales tax for all purchases within the State of California.

Sales tax is not applicable to purchases billed and shipped to an out-of-state address.

Shipping
Artwork will be packaged professionally and shipped via the best means available, usually Federal Express, at the expense of the client. Your shipment will be insured by the gallery for its full value.  Report any damage immediately after receipt.

Authenticity and Satisfaction Guarantee
All purchases are guaranteed to be as described. All photographs are in excellent condition unless otherwise noted. We are happy to provide you with a Certificate of Authenticity.  If you are not satisfied with your purchase you may return the artwork within 7 days for a full refund. To return artwork, contact the gallery to make arrangements. Please retain original packaging in case artwork is to be returned. Artwork must be insured by you for full value when being returned.

 

email address

alinders@mcn.org

© Copyright 2013
All rights reserved

Copyrights and other proprietary rights in the photographs and other material on this website may also subsist in individuals and entities other than and in addition to the Alinder Gallery.

The Alinder Gallery expressly prohibits the copying of any protected materials on this website, except for the purposes of fair use as defined in the copyright laws.

For the best price on an Ansel Adams

signed original fine photograph

 please email alinders@mcn.org or call 707-884-4884.

 
 

Ansel Adams
Frozen Lake and Cliffs

Precipice Lake, Kaweah Gap, Sequoia National Park
Negative 1932, gelatin-silver print made by the artist 1970s,
signed in pencil on lower right recto of mount
Carmel studio stamp on verso of mount
 9-5/8 x 12-3/8-inches print size and framed to 20 x 24 inches
Excellent Condition

"I made this photograph while on the annual Sierra Club outing in Sequoia National Park
one of the most spectacular regions of the Sierra....Many speak of this image as abstract,
but I was not conscious of any such definition a the time....For photographic composition
I think in terms of creating configurations out of chaos."

 

 

Ansel Adams
Aspens
Northern New Mexico
 Negative made 1958, gelatin-silver print made by the artist,
signed by the artist on right recto of  mount, artist's Carmel 93921 studio stamp on verso of mount, 15 x 19-inch print size, dry mounted to 22 x 28-inch museum board, framed with ultraviolet filtering Plexiglas, Excellent Condition, 

This photograph is usually called "Horizontal Aspens" because Ansel made a vertical image of Aspens on the same day and in the same place. Aspens, Northern New Mexico is one of Ansel's "top ten" photographs. Ansel made Aspens, Northern New Mexico in the Sangre de Christo mountains outside of Santa Fe.  Describing the experience, he wrote, "...we came across a stand of young aspen trees.  I immediately knew there were wonderful images to be made... I do not consider it a 'pretty' scene;  for me it is rather stately."   Aspens, Northern New Mexico was made with his 8x10 view camera.  With such quiet light, he needed a full second exposure which was possible because it was an unusually windless day.

 

 

Ansel Adams

Moonrise
Hernandez, New Mexico
 Negative made 1941, gelatin-silver print made by the artist 1970s, signed by the artist on right recto of  mount,

 artist's Carmel studio stamp on verso of mount, 15-1/4 x 19-1/2-inch print size,

dry mounted to 22 x 28-inch museum board, framed with ultraviolet filtering Plexiglas.

Excellent Condition 

For many, Moonrise, Hernandez, New Mexico is the greatest photograph ever made. Step into the picture. We are standing on the shoulder of Highway 84, a two-lane blacktop some thirty miles from Santa Fe. Under the last light of day we see the village of Hernandez, nestled among the tree-lined banks of the Rio Chama flowing to meet the Rio Grande. Sage covers the ground. Burning pinon drifts its warm, woodsy fragrance from chimneys. The great vault of the sky places Hernandez in appropriate perspective - relative insignificance. Even the snowcapped Truchas Mountains only punctuate the meeting of heaven and earth. A broad brush stroke of brilliant white clouds spans the horizon, while just above the waxing moon beams down. The night is velvety-black and yet, somehow we can see. Each object appears to be lit from within: village, graveyard, church and sagebrush. Through Moonrise the viewer stands beyond mankind to witness humanity's reach for the stars, for redemption, for God.

 

 

 

Ansel Adams
Winter Sunrise, The Sierra Nevada
from Lone Pine, California
 Negative made 1944, gelatin-silver print made by the artist c.1974, signed by the artist on right recto of  mount, artist's Carmel studio stamp on verso of mount, 14-1/2 x 19-3/8-inch print size, dry mounted to 22 x 28-inch museum board, framed with ultraviolet filtering Plexiglas.  Excellent Condition

Ansel never intentionally included a human or an animal in his creative landscapes.  Given his choice, he would not have had any horses in Winter Sunrise, but they were there, and he made the most of them; they added an earthly touch to the unearthly beauty of the scene.  Control, as absolute as possible, was at the heart of Ansel's photography. Mountains stayed put, but people and animals were wild cards, potentially unmanageable moving variables in Ansel's compositions.

For Ansel, the critical variable was light.
 
 

Ansel Adams
Monolith, The Face of Half Dome
Yosemite National Park

Negative made 1927, gelatin-silver print made by the artist c.1975,
signed by the artist on right recto of  mount, artist's Carmel 93921 studio stamp on verso of mount
19-1/4 x 14-inch print size, dry mounted to 28 x 22-inch museum board
framed with ultraviolet filtering Plexiglas, Excellent Condition

Many believe Monolith to be the single most important photograph in Ansel's life work.  It is with this image that he forever moved from being a good photographer to being an artist, for it is with Monolith that he discovered that a photograph could communicate all the drama and passion of his soul, that he need not be confined to photographing reality, but could skew the tonal values of a print in some cases literally turning day to night, as here in Monolith.

 

Mary and Jim with the real Ansel at Moonrise's 40th birthday party, 1981

 

Mary talks about Ansel and his photographs to a group at the Alinder Gallery.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Two amazing Ansel Adams murals of the Northern Coast of California.

Storm over the Pacific (left) and Rocks and Surf (right)
These two 40 x 40 inch murals hung in the Timber Cove Lodge for decades after their making in the early 1960s.
They have undergone conservation where the original pulp board mount was painstakingly removed and replaced with
acid free museum board.  Then they were handsomely framed with museum grade ultraviolet filtering Plexiglas.

 
 

 

Ansel Adams

Mt. Williamson from Manzanar

c. 1944

coming into inventory in  March 2013

 

 

Ansel Adams
Fresh Snow
 Yosemite Valley, California
Negative made c.1947, gelatin-silver print made by the artist 1974,
signed by the artist on right recto of  mount, artist's hand stamp on verso of mount
15-1/4 x 19-inch print size, dry mounted to 23 x 29-inch museum board, framed with ultraviolet filtering Plexiglas,
Excellent Condition

The delicate layer of new snow outlines the branches in this nearly abstract composition.

 

Ansel Adams

 The Grand Canyon, Arizona

1942, 15-5/8 x 19-3/8" print made later
Signed on right of mount recto directly below print
Framed to 28 x 32 inches with archival materials and museum grade Plexiglas
Excellent Condition

 
 

 

Ansel Adams
Clearing Storm, Sonoma County Hills
Northern California
Negative 1951, gelatin-silver print1963
 8-3/4 x 11-1/2-inch print size, dry mounted to 16 x 20-inch museum board, framed
signed by the artist on right recto of  mount, artist's hand stamp on verso of mount
Excellent condition

 

Ansel Adams
Alders, Prairie Creek Beach
Northern California
Negative c. 1949, 15-3/8 x 19-1/4 inch gelatin-silver print made by the artist 1974
 signed by the artist on right recto of  mount, artist's hand stamp on verso of mount
Excellent condition

  

 

Ansel Adams
 White Post and Spandrel
 Columbia, California
Negative 1953, 19-1/4 x 14 inch gelatin-silver print made by the artist 1974
 signed by the artist on right recto of  mount, artist's hand stamp on verso of mount
 Excellent condition

An architectural detail with exceptional tonal range

 

 

  

Ansel Adams
Graduation Dress
Yosemite Valley
Negative 1948, 19-3/8 x 15-1/8 inch gelatin-silver print made by the artist, 1974
 signed by the artist on right recto of  mount, artist's hand stamp on verso of mount
Excellent condition

 

Ansel Adams
Robert Boardman Howard
 San Francisco, California
Negative made c.1947, gelatin-silver print made by the artist 1974,
signed on right recto of  mount, artist's hand stamp on verso of mount
11 x 14-inch print size, dry mounted to museum board, framed with ultraviolet filtering Plexiglas,
Excellent Condition

 MOTIVATED SELLER SIGNIFICANT PRICE REDUCTION!

An exceptional portrait of the San Francisco sculptor with his raw materials.
   
 

ANSEL ADAMS: A BIOGRAPHY
BY MARY STREET ALINDER

3 AUTOGRAPHED COPIES LEFT!  ALMOST SOLD OUT! 

We have recently discovered a few copies of Mary's biography of Ansel that has been

OUT-OF-PRINT for a decade.  It is available AUTOGRAPHED for $50.  Call or email

to reserve a new fresh copy for your collection.  A sampling of reviews:

“ennobling, moving book”          Houston Chronicle

“a loving, minutely researched portrait”          Los Angeles Times

“deeply felt”          Publishers Weekly (starred review)

 “very important, very readable”          The Press Democrat (Santa Rosa)

“superb biography…richly detailed portrait of the complex, legendary figure that was Ansel Adams”                 View Camera

 

 

 

Ansel Adams
Oak Tree, Snowstorm
Yosemite National Park, California

negative 1948, gelatin-silver print c.1969, signed by the artist on right recto of  mount,
print #333 special edition #11 stamp on mount verso 9-3/4 x 7-3/4-inch print
 framed to 16 x 20 inches with ultraviolet filtering Plexiglas,  excellent condition

 
 

Ansel Adams
Half Dome, Merced River, Winter
 Yosemite National Park, California

     Negative  1938, gelatin-silver print  c.1948, signed by the artist on right recto of  mount

7 x 9-1/8-inch print size, #25 special edition stamp on verso of 13-1/2 x 16-1/2 inch mount

       framed to 16 x 20 inches with ultraviolet filtering Plexiglas,  excellent condition

 

 

 

Ansel Adams
Valley View
     Yosemite National Park, California
     Negative c.1935, signed gelatin-silver special edition print
Framed to 16 x 20 inches with ultraviolet filtering Plexiglas,  excellent condition

 

 

 

Ansel Adams
El Capitan, Winter

   Yosemite National Park, California
     Negative 1948, signed gelatin-silver special edition print c.1969
framed to 16 x 20 inches with ultraviolet filtering Plexiglas,  excellent condition

 

Ansel Adams
Tenaya Lake and Mount Conness
Yosemite National Park, California
8 x 10 inch gelatin-silver special edition print,
signed by the artist on right recto of  mount
framed to 16 x 20 inches with ultraviolet filtering Plexiglas
excellent condition

 

Ansel Adams
Clearing Winter Storm
Yosemite Valley, California
negative c. 1938 limited edition litho made 1982
signed by the artist on left recto of  mount
print “T” from the artist’s alphabet edition
16 x 20-inch image size mounted to hand made rag paper sheet
framed to 24 x 30 inches, excellent condition

 

 

 

 

Ansel Adams
Aspens (vertical)
Northern New Mexico
negative 1958, limited edition litho made 1982
signed by the artist on left recto of  mount
print 240 from the edition limited to 350 prints
16 x 20-inch image size mounted to hand made rag paper sheet
framed to 24 x 30 inches, excellent condition

 
 
Please call (707) 884-4884 or email to alinders@mcn.org for additional Adams inventory
 
Paul Strand

Paul Strand and Ansel Adams were two of the greatest American photographers of the 20th century.
We are delighted to be able to offer you this superb selection Strand's photographs as well.

In 1936, Stieglitz anointed Adams as worthy of the world’s attention. It had been twenty years
since he had singled out another young photographer, and that person had been Strand.
New York was Strand’s home where he studied photography with Lewis Hine, the great documentary photographer.
Influenced by the new and radical work of Picasso and Braque, through a cubist eye, he photographed the streets
of New York, breaking up the picture into flat planes. He pioneered a new visual approach.

When Adams met Strand in 1929, he experienced a personal epiphany.
Viewing Strand’s negatives he saw for the first time the full potential of photography and their talks
verified his hope that photography could be a noble and intellectual profession.
Adams wrote, “They were glorious negatives:  full, luminous shadows and strong high values in which subtle passages of tone
were preserved. The compositions were extraordinary:  perfect, uncluttered edges and beautifully distributed shapes
 that he had carefully selected and interpreted as forms – simple, yet of great power”
 My understanding of photography was crystallized that afternoon as I realized the great potential of the medium as an expressive art.”

            Strand's prints sing with precise compositions and luminous tones. Strand’s work is renowned,
showing him to be a pioneer in 20th century avant-garde photography
who was able to demonstrate to the world the effectiveness of art in promoting social change.

In the mid 1970s, in his eighties, he asked master photographic printmaker Richard Benson to make prints for what would be his final portfolio,
On My Doorstep. Supervised by Strand, Benson’s prints are spectacularly beautiful.
Devoted to making the best prints possible, Benson has since been awarded a MacArthur Foundation genius award.

Strand’s old friend, Adams, helped to underwrite this project. From an edition of only 50,
the prints that are offered here come from the portfolio that Adams gave to his daughter Anne.
The subjects range from his early expressions in abstraction, cubism, modernism, and the documentary to his later,
melodic images of nature seen in his own yard. Each portfolio was signed by Strand shortly before his death on March 31, 1976.

For more than 60 years, Paul Strand created photographs that continue to increase in value and historical significance.

 

 
                                                                                                             

 
                              Porch Shadows, Connecticut, 1915                        Jug and Fruit, Connecticut, 1915                           Snow, Backyards, New York, 1914
 
                                                                 

                Rebecca, New York, 1922                                                                                  Akeley Motion Picture Camera, 1923                                      Toadstool and Grasses, Maine, 1928

 

A handful of Strand quotes:

 

The artist's world is limitless. It can be found anywhere,
far from where he lives or a few feet away. It is always on his doorstep. –Paul Strand
 

Objectivity is of the very essence of photography, its contribution and at the same time its limitation…
Honesty no less than intensity of vision is the prerequisite of a living expression.
The fullest realization of this is accomplished without tricks of processes or manipulation,
through the use of straight photographic methods.  –Paul Strand

I think of myself as an explorer who has spent his life on a long voyage of discovery.-Paul Strand

All good art is abstract in its structure. - Paul Strand

It is one thing to photograph people. It is another to make others care about them by revealing the core of their humanness. - Paul Strand

 

                                                                     

                           

RUTH BERNHARD

 Ruth Bernhard was born in Berlin on October 14, 1905 into a family immersed in art.  Her father, Lucian Bernhard
 was the "father" of the German poster and designer of type forms.  Educated in Germany including two years
at the Berlin Academy of Art, she emigrated to the United States in 1927, landing in New York.
The next year she became a darkroom assistant to Ralph Steiner.  She soon purchased an 8x10 view camera
and began making her own images. By 1934 Bernhard was frequently photographing women in the nude.
It would be this art form for which she would eventually  become best known.
While on vacation in California in 1935, by chance she met the renowned photographer Edward Weston.
She was profoundly affected by his images, leading Bernhard to her development of a strong personal vision.
Ruth eventually settled in San Francisco in 1953.   She has lectured and conducted master classes throughout the United States.
There are several books of her work and her fine pints are widely collected.

  Ruth Bernhard died in San Francisco on December 18, 2006 at age 101.

 

   

Triangles

This exquisite image by Ruth Bernhard displays her use of light to harmoniously reveal form.
This particular print was made more than 30 years ago when Ruth was 70 years old and is one of the last photographs she actually printed herself.

classic torso

Ruth Bernhard  Classic Torso  Silver-gelatin print 13-1/2 x 10-1/2" 

 "Light is my inspiration. It is as vital as the model herself. Profoundly significant,
 it caresses the essential superlative curves and lines.
Light I acknowledge as the energy upon which all life on this planet depends". Ruth Bernhard

 

Ruth Bernhard    Sand Dune  Silver-gelatin print 7-3/4 x 13-1/2"   

 

To raise, to elevate, to endorse with timeless reverence the image of woman has been my mission." RB

 

Clarence Kennedy

Photographs of Sculpture

 

Clarence Kennedy (1892-1972) was a Renaissance scholar, professor of art history at Smith College, and noted photographer of sculpture.  Dr Edwin Land, the founder of Polaroid was most impressed by Kennedy’s photographs of paintings and sculpture. Ansel Adams began working with Dr. Land in 1949.
Kennedy also became a friend. 

About Kennedy’s pictures of sculpture, Adams enthused, “He had the most extraordinary feeling in the marble quality of his images…The high values…suggest sparkle and translucence.”

 Dr. Land knew that Adams, the greatest photographic technician of all time, could take Kennedy’s negatives and make even more beautiful prints. These prints are very rare, negatives made by the preeminent photographer of sculpture with their final interpretation as a photographic print by Adams.

 The provenance of these photographs is impeccable:
from Kennedy/Adams to Dr. Land’s Polaroid Collection to the Alinder Gallery.
         

                                                                                                                                                           

Madonna and Child                                                                           Folded Hands                                                                                                         Cherub

Italian quattrocento sculpture, Negatives by Clarence Kennedy, c. 1930,  Gelatin-silver prints made by Ansel Adams

 

 

More 2013 Specials

Marion Post Wolcott
"Biscuit Lady"
A member of the Wilkins family making biscuits on corn-husking day, Tallyho, North Carolina, 1939
silver-gelatin print 8-3/4"x12"
$1,200.00

MARION POST WOLCOTT (1910-90), was born in Bloomfield, New Jersey and educated
at New York's New School for Social Research.  In 1938 Roy Stryker hired her as one
of the few women photographers of the Farm Security Administration (FSA).
Marion photographed primarily in the south for the FSA as in this image from Virginia.

 

 

Galen Rowell
Patriarch Grove, Bristle Cone Pines, 1974
8-7/8"x13-1/4" color photograph from the numbered edition
$3,500.00 Signed

GALEN ROWELL (1940-2002) was born in Oakland, raised in Berkeley and introduced
to the wilderness before he could walk.  "My interest in photography...evolved through an intense
devotion to wilderness that eventually shaped all parts of my life and brought them together."
 Rowell photographed on all seven continents, and produced a substantial body of work that has been widely collected.

 

A Brett Weston Special

 

Brett Weston

New York, 1944

"11x14" Silver-Gelatin CONTACT Print

$12,000.00  Signed

BRETT WESTON (1911-1993) was born the second son of Edward Weston who taught him photography as a teenager.
Brett's first of many major solo exhibitions was in 1932 at the deYoung Museum in San Francisco.
This photograph was made while Brett was in the Army stationed on Long Island.
During off-duty hours he photographed New York with his 11x14 inch view camera.
His lifelong interest in surfaces and textures is clearly evident in this complex composition.

 
 
 

Solomon D. Butcher
Duck Hunting in Western Nebraska, c. 1890s
Solio Print, gold toned on printing out paper, 6" x 7-3/4" contact print
Butcher's slow glass plates couldn't stop the ducks, so he drew them into the plate.
$1,500.00

 

Alan Ross
 Pfeiffer Beach
Big Sur, California
11"x14" image made by the artist, signed
$900.00

 

Wolf Von Dem Bussche
 Twin Towers, New York City, 1976
16-1/2 "x22-1/2" silver-gelatin print made 1979 #15/90
$4,200.00, signed

Wright Morris
 House with Dead Tree, Virginia, 1940
8"x10" silver-gelatin print made by the artist
$2,400.00 signed

 

 

Clarence White
In the Orchard
8"x 6" Photogravure from Camera Work
$1,200.00

 

Wright Morris
 Log Ends, Ohio, 1942
8"x10" silver-gelatin print by the artist
$3,000.00 signed

Jim Alinder
Ansel & Half Dome, 1982
13-1/2"x10-1/2" Pigmented Giclee print 2000
$500.00 signed

Harold Edgerton
 Tennis Forehand, c.1940
multiple-high speed strobe
8-3/4"x12" silver-gelatin print
$2,500.00 signed
   

Christopher Burkett
Resplendent Leaves at Sunset
Oregon 2000, Printed 2004
10-1/2"x10-1/2" artist made & signed print #137
$750.00 with deluxe edition book

 

Christopher Burkett
Resplendent Light
Deluxe Edition Book #137
comes with print on left
 
   

 
 

 
 

 

 

 

 

 A Small Sampling of Photographs by Jim Alinder (also visit www.jimalinder.com for more)

 

 

Ansel Adams, 1984

 

  

Ansel with a straight and a fine print of Moonrise, 1981

 

 

  

 

 

 

Conforming Cloud, Monument Valley

Before Photoshop!

 

Stengel Beach, The Sea Ranch

 

 

 

 

Tomatoes in Blue Bowl, 1998
From the Series Markets of Provence

 

Goat Cheese, 2004
From the Series Markets of Provence

  

 

 

 
     

Imogen Cunningham, 1967

From the Series Art of the Automobile

 

  

Mother & Child, Somalia, 1965

Z & Me, 1973