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Paul Strand "Akeley Motion Picture Camera" Print, 1923 [159768]

Currency:USD Category:Collectibles / Photographic Images - Antique Start Price:500.00 USD Estimated At:1,000.00 - 3,000.00 USD
Paul Strand  Akeley Motion Picture Camera  Print, 1923 [159768]
SOLD
300.00USDto G*******1+ buyer's premium (75.00)
This item SOLD at 2023 Jan 21 @ 08:11UTC-8 : PST/AKDT
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Print of Paul Strand's "Akeley Motion Picture Camera" taken in New York City, 1923. This print is from a collection of prints that were likely sent to Ansel Adams by Strand. This photograph is an example of Paul Strand's still life photography. According to the Met, "Strand had purchased the movie camera only days before he photographed it. His delight in the finely tooled instrument with which he planned to earn his living is evident in the series of photograph he made." This print is 8 x 10 inches, printed on Kodak paper. Very good condition.

SPECIAL NOTES
Paul Strand Prints
HWAC # 159763 through 159779

Paul Strand (1890-1976) was a famous American photographer known for his
landscape, portrait, still life, and abstract photography. Along with Alfred Stieglitz, Edward
Weston, and Ansel Adams, Stand helped establish photography as a fine art form. Strand met
Ansel Adams on a trip to Taos, New Mexico in 1930. The two became good friends and
exchanged many letters about their work over the years. These letters show that both men had
differing opinions on the value of photography. Generally speaking, Adams believed in making
photography accessible to the public while Stand believed that it should be reserved for those
who can afford fine art.

One disagreement these men had was over how to price photographic prints. Strand made the following comments about the price of one of Adams’ portfolios. “ It seems to me that
your portfolio undermines the basic concept of the value of a fine photographic print. First, it
says: a little over $8 apiece is a reasonable price and secondly it says that the photograph as an
art work can be made in any quantity or at least quality. I don’t think either is true and in the long run my feeling is that you will not increase either respect for, nor understanding of, photography as a medium of expression (letter from Paul Strand, March 21, 1949).” To explain his reasoning, Strand essentially argues that photographs should be valued just as highly as oil paintings and watercolors. Adams disagrees and makes the following statement in reply. . “I cannot agree with your logic in this respect: 1 print only from a negative may very well be worth $500- the
photograph in itself is worth that. But, where we have one oil painting, one watercolor, one piece
of sculpture, we also have many prints of etchings, many prints of lithographs,many prints of
photographic negatives…$100 is far too much for the average person for anything. It is much
more important that people who appreciate and truly desire to have the Portfolio be given the
chance to own it, than to have it placed only in the hands of the rich- who are often very
unappreciative of anything but hard cash. (letter from Ansel Adams, March 29, 1933).”

Adams and Strand also disagreed about exhibiting photography to the public. Ansel
Adams opened his gallery in San Francisco in 1933, and wanted to exhibit some of Strands& #39;
work. Strand denied this request and explained his distaste for exhibitions. “...I have little
interest in exhibitions- because at the basis they seem to be un-American- just a mean and
meaningless affair; mean in that they exploit the artist to entertain the public free of charge-
meaningless in that they seldom establish any standards… I can never get used to the idea that
pictures are free entertainment in the U.S., elsewhere too, that the people who claim to enjoy a
thing never support the individual who makes what gives them pleasure (letter from Paul Strand,
October 14, 1933).”

Again, Ansel Adams offers a different view. “I must admit that I do not fully
understand your attitude (and Stieglitz’ attitude) about exhibits in general… After all, should we not be resigned to the naked fact that there is (as there ever has been) only a very very small real audience for anything worthwhile? And should we not trust that in almost any group there
will be a few- perhaps only one- who will perceive the significance of a great expression? And if
there is only one, wouldn’t that justify an exhibit? (letter from Ansel Adams, October 31, 1933)”

Despite his negative attitudes toward exhibitions, Paul Strand did eventually send some
of his work to the San Francisco Museum of Modern art in 1967. After the museum exhibition,
the prints were sent to Ansel Adams’ gallery. In a letter to Nancy and Beaumont Newhall,
Adams writes, “The Strand prints arrived today from San Francisco- all in good condition (letter
from Ansel Adams, November 9, 1967).” It is highly likely that Strand sent more prints to Adams
after this initial exchange. It is believed that the Strand prints in this auction were some of those
prints that were personally sent to Adams by Strand.

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Provenance: Cameron Charles Holloway Collection