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James G. Alinder &
Mary Street AlinderAddress:
39141 S. Hwy One
P.O. Box 449
Gualala, CA 95445
Phone:
707-884-4884
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. She 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 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 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 8.25% 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 10 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 2009
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.
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Specialists in the Photographs of Ansel Adams
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, $49,000.00
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.
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Ansel Adams, Winter Sunrise, The Sierra Nevada, Lone Pine,
California,
Negative made 1944, gelatin-silver print made by the artist April
1978,
signed by the artist on right recto of mount, artist's Carmel 93923
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, sold
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 highly structured approach to art. For Ansel, the
critical variable was light.
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Ansel
Adams, Monolith, The Face of Half Dome, Yosemite National
Park,
Negative made
1927, gelatin-silver print made by the artist c.1977,
signed by the artist on right recto of mount, artist's Carmel 93921
studio stamp on verso of mount, 19-1/8 x 14-inch print size, dry
mounted to 28 x 22-inch museum board, framed with ultraviolet
filtering Plexiglas,
Excellent Condition, sold
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 or in his wonderful Moonrise, Hernandez,
New Mexico made
fourteen years later.
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Ansel Adams, White House Ruin, Canyon de Chelly, Arizona,
Negative made 1942, gelatin-silver print made by the artist c.1977,
signed by the artist on right recto of mount, artist's Carmel 93921
studio stamp on verso of mount, 19-1/4 x 13-3/4-inch print size, dry
mounted to 28 x 22-inch museum board, framed with ultraviolet
filtering Plexiglas,
Excellent Condition, $22,000.00
Canyon de Chelly, in northeastern Arizona, has long been rich with
the evidence of man set in a spectacular landscape. Over eons, the
Rio de Chelly carved amazing canyons that thread between vertical
sandstone cliffs. Over a thousand years ago the Anasazi farmed the
mesa tops and most probably lived in simple structures on the valley
floor. They built magnificent cliff dwellings that could provide
protection from marauding tribes and safe storage for the food
larder.
Ansel was engaged by Harold Ickes, director of the Department of the
Interior to photograph the national parks and monuments with the
goal of making large murals to place in government hallways and
offices in Washington. The purpose was to remind our elected
officials - and the appointed bureaucrats as well - of the
tremendous resource of our American natural scene. The artist made
this photograph, White House Ruin, while on this assignment
that was unfortunately canceled as of July 1, 1942 because of World
War II.
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Ansel Adams, Aspens, Northern New Mexico (horizontal),
Negative made 1958, gelatin-silver print made by the artist c.1977,
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, $39,000.00
Ansel made Aspens, Northern New Mexico in the Sangre de
Cristo mountains outside of Santa Fe. Describing the experience, he
wrote, "...we came across a stand of young aspen trees in mellow
gold. I immediately knew there were wonderful images to be
made...We were in the shadow of the mountains, the light was cool
and quiet and no wind was stirring. The aspen trunks were
slightly greenish and the leaves were a vibrant yellow. The forest
floor was covered with a tangle of russet shrubs. It was very quiet
and visually soft...This photograph is exceedingly popular at all
levels of appreciation. I do not consider it a 'pretty' scene;
for me it is cool and aloof and rather stately." Aspens,
Northern New Mexico was made with his 8x10 view camera using
the 19-inch component of his Cooke Series XV lens equipped with a
deep yellow Wratten No. 15 (G) filter. He chose Panatomic-X film at
ASA 32. With such quiet light, he needed a full second exposure
which was possible because it was unusually windless.
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Ansel Adams, Arches, North Court, Mission San Xavier del Bac,
Tucson, Arizona,
Negative made 1968, gelatin-silver print #36/115 made in 1976,
signed by the artist on right recto of mount, Portfolio VII stamp on
verso of mount, 15-3/8 x 19-5/8-inch print size, dry mounted to 23 x
29-inch museum board, framed with ultraviolet filtering Plexiglas,
Excellent Condition, $14,000.00
An outstanding example of Mexican Baroque architecture, the Mission is
known as the White Dove of the Desert. Some three hundred years old, it
serves as a Franciscan church and mission located within the Papago
Indian reservation. Ansel wrote, "In my many camera explorations in
about the mission I was especially attracted by the handsome arcade of
the north facade. The north face of the arches, always in shade,
reveals exciting vistas of the east tower and the central dome."
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Ansel Adams, Pacific Sunset, Timber Cove, California
negative c. 1960, vintage gelatin-silver print made by the artist c.
1962, signed by the artist in ink on right recto of mount, artist's
early Carmel studio stamp on verso of mount, 14-7/8 x 19-1/2-inch
print size, dry mounted to 22 x 28-inch Crescent Illustration board,
framed with ultraviolet filtering Plexiglas
Very Good Condition, $9,000.00
The northern California coast was a very productive area for
Adams particularly in the early 1960s. Hired by the owner of the
Timber Cove development to make photographs of the area Adams had
carte blanche to photograph from the exquisite inland Redwoods to
the Pacific shore. A remarkable range of dark grey tones accent
this vintage print of the setting sun.
Ansel
Adams
Winter Morning, Yosemite Valley
Yosemite National Park, California
Hills Bros. Coffee Can 1969
Excellent Condition-a few small scratches
$900.00
ALMOST SOLD OUT! We have recently discovered a couple of boxes of Mary's biography
of Ansel that has been
out-of-print for several years. It is available for the
original retail price of $30. 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
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Ruth Bernhard Triangles
Price on Request
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.
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Willard Van Dyke was central to the founding of Group f.64.
Born December 5, 1906 in Denver, Colorado, it was as a
student at the University of California, Berkeley in the early 1930's
that Willard's photographic career began. He and his
classmate Preston Holder regularly visited Edward Weston
in Carmel in an informal apprenticeship with the internationally
known Weston.
Willard's
place at 683 Brockhurst in Oakland became a gathering place for
photographers, where Group f.64 was founded and a serious
photography gallery.
In 1935 Willard moved to New York to begin
a new career as a documentary filmmaker, believing that film
could change the world. In 1937 he was a cameraman for Pare
Lorentz's The River. With Ralph Steiner
he founded American
Documentary Films, Inc and together they made the seminal film,
The City in 1939. From 1965 to 1974 Willard was the
director of the Department of Film at MOMA. Van Dyke died in
1986.
His wonderful photographs of the1930s, such as
Itinerant
Workers, are rare.
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Willard Van Dyke
Willard Van Dyke,
Itinerant Workers, c. 1934
Silver-gelatin print made later by the artist
Excellent Condition
Print #8 from the
edition of 50.
$2,800.00 Signed
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Willard Van Dyke
Church Yard c. 1932
Printed and signed by the artist
$2,000.00
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Eadweard
Muybridge (1830-1904)
Huntington
Witherill
Larry
Burrows 
