Mr. Harvey S. Shipley Miller

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This muted, celestial blue, wide book cover has gold text and a drawn illustration of marshlands and sailboats. The text is oriented at an angle between the lower left and upper right corners. It reads, “Life and Landscape on the NORFOLK BROADS BY P.H. EMERSON and T.F. GOODALL.” In dark brown, cattails rise along the left edge, near the book’s tan-colored spine, and two boats sail away from us toward a harbor town to the right. The spine and cover are worn and scuffed, and there are a few stains.
T.F. Goodall, Peter Henry Emerson, Life and Landscape on the Norfolk Broads, 1886, bound volume of 39 platinum prints, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.63.1

Life and Landscape on the Norfolk Broads

T.F. Goodall, Peter Henry Emerson · 1886 · bound volume of 39 platinum prints ·  Accession ID  1995.63.1

T.F. Goodall, Peter Henry Emerson, Poling the Marsh Hay, 1886, platinum print, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.63.1.q

Poling the Marsh Hay

T.F. Goodall, Peter Henry Emerson · 1886 · platinum print ·  Accession ID  1995.63.1.q

Peter Henry Emerson, Marsh Leaves, published 1895, 1 vol: ill: 16 photogravures on wove paper, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.113.1

Marsh Leaves

Peter Henry Emerson · published 1895 · 1 vol: ill: 16 photogravures on wove paper ·  Accession ID  1990.113.1

Peter Henry Emerson, Rime Crystals, in or before 1895, photogravure on wove paper, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.113.1.n

Rime Crystals

Peter Henry Emerson · in or before 1895 · photogravure on wove paper ·  Accession ID  1990.113.1.n

A tall, almost sheer rock formation soaring high above snow-capped rocky peaks nearly fills this vertical black and white photograph. The rock formation is rounded along the top and continues off the top right corner and right edge of the composition. A jagged ridge dips down like a narrow wing to our left, and tall trees on the mountain peaks are made minuscule by the formation, the surface of which is textured with long vertical streaks. The sky in the upper left corner of the photograph is steely gray behind a thin ridge of white snow along the curved top of the formation.
Ansel Adams, Monolith, The Face of Half Dome, 1927, gelatin silver print (parmelian print), Harvey S. Shipley Miller Fund, 2004.85.2

Monolith, The Face of Half Dome

Ansel Adams · 1927 · gelatin silver print (parmelian print) ·  Accession ID  2004.85.2

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A Winter Pastoral

Peter Henry Emerson · in or before 1895 · photogravure on wove paper ·  Accession ID  1990.113.1.e

Peter Henry Emerson, T.F. Goodall, Gunner Working Up to Fowl, 1886, platinum print, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.63.1.s

Gunner Working Up to Fowl

Peter Henry Emerson, T.F. Goodall · 1886 · platinum print ·  Accession ID  1995.63.1.s

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A Corner of the Farm-Yard

Peter Henry Emerson · in or before 1895 · photogravure on wove paper ·  Accession ID  1990.113.1.m

T.F. Goodall, Peter Henry Emerson, Marshman Going to Cut Schoof-Stuff, 1886, platinum print, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.63.1.v

Marshman Going to Cut Schoof-Stuff

T.F. Goodall, Peter Henry Emerson · 1886 · platinum print ·  Accession ID  1995.63.1.v

Peter Henry Emerson, The Village of Horning, 1886, platinum print, Gift of Harvey S. Shipley Miller and J. Randall Plummer, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.63.1.e

The Village of Horning

Peter Henry Emerson · 1886 · platinum print ·  Accession ID  1995.63.1.e