That's a self-defeating analogy to make regarding the negatives being
next to worthless because they are like a musical score and all the
value is in their interpretation. If that was true then an original
score in Mozart's hand would also be worthless. I don't know if
Turnage is right or wrong regarding the provenance of the negatives
but his logic regarding their potential value is clearly off.
Colin Hunter
On WednesdayJul 28, 2010, at 11:50 AM, Kirby McDaniel wrote:
This is interesting, of course, but inconclusive. One doesn't know
the personalities involved. Sometimes (not saying this is the case
here) estate owners do not want to admit any other owners, no
matter what. The stories about Warhol works are legion.
But Turnage is quite correct about the interpretive nature of Adams'
printing. Much of the value
is there. But to label the negatives "next to worthless", if they
are Adams negatives, is laughable.
I'm sure there are methods for really getting at the truth of this
-- but that may involve cooperation
between the parties. It doesn't sound like there's been much so far.
Kirby
On Jul 28, 2010, at 5:36 AM, Bruce Hershenson wrote:
Adams heirs skeptical about lost negatives claim
http://tinyurl.com/2b4qmrm
I love this part:
"It's an unfortunate fraud," said Bill Turnage, managing director
of the Ansel Adams Publishing Rights Trust. "It's very distressing."
Turnage said he's consulting lawyers about possibly suing Norsigian
for using a copyrighted name for commercial purposes. He described
Norsigian as on an "obsessive quest." "We've been dealing with him
for a decade," he said. "I can't tell you how many times he's
called me."
AND THIS:
Beverly Hills art appraiser David W. Streets said he conservatively
estimated the negatives' value at $200 million, based on current
sales of Adams' prints and the potential for selling never-seen-
before prints.
Turnage called that figure ridiculous because the value of Adams'
work is in his darkroom handcrafting of the prints, and said the
negatives are next to worthless.
"Ansel interpreted the negative very heavily. He believed the
negative was like a musical score. No two composers will interpret
it the same way," he said. "Each print is a work of art."
SOUNDS LIKE THIS SHOULD BE ON THE NEXT ANTIQUES ROADSHOW!
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