Ansel Adams

The Estate of the photographer to The Friends of Photography, Carmel, 1984

Acquired from the above, 2002

Ansel Adams and Nancy Newhall, This Is the American Earth (San Francisco, 1960), pp. ii-iii

Nancy Newhall, Ansel Adams: The Eloquent Light, Photographs 1923-1963 (San Francisco: M. H. de Young Memorial Museum and Washington, D.C.: Smithsonian Institution, 1963), unpaginated

Liliane de Cock, ed., Ansel Adams (Hastings-on-Hudson, 1972), pl. 77

Ansel Adams, Ansel Adams: Yosemite and the Range of Light (Boston, 1979), pl. 99

Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 162

Ansel Adams, Ansel Adams: An Autobiography (Boston, 1985), p. 262

James Alinder and John Szarkowski, Ansel Adams: Classic Images (Boston, 1985), pl. 38

Mary Street Alinder and Andrea Gray Stillman, Ansel Adams: Letters and Images 1916-1984 (Boston, 1988), p. 275

Andrea Gray Stillman, ed., Ansel Adams: The American Wilderness (Boston, 1990), pl. 25

John P. Schaefer, The Ansel Adams Guide Book 1: Basic Techniques of Photography (Boston, 1992), fig. 6.12

Michael Read, ed., Ansel Adams, New Light: Essays on His Legacy and Legend (San Francisco: The Friends of Photography, 1993), p. 66

John Szarkowski, Ansel Adams at 100 (San Francisco Museum of Modern Art, 2001), pl. 85

Andrea Gray Stillman, ed., Ansel Adams: 400 Photographs (Boston, 2007), p. 245

Barbara Buhler Lynes, Sandra S. Phillips, and Richard B. Woodward, Georgia O’Keeffe and Ansel Adams: Natural Affinities (Boston, 2008), p. 115

Andrea Gray Stillman, Looking at Ansel Adams (Boston, 2012), p. 128

Jeff Putman & Genny Smith, eds., Deepest Valley: Guide to Owens Valley (Bakersfield, 2014), cover and frontispiece

Rebecca Senf, Making a Photographer: The Early Work of Ansel Adams (New Haven, 2020), fig. 6.4

Shanghai, Shanghai Gallery, People’s Exhibition Hall, Ansel Adams: Photographer, February 1983; and traveling thereafter to: Beijing, National Museum of Art, March 1983; Tokyo, Odakyu Store Art Gallery, June 1983; Hong Kong Arts Centre, July – August 1983; San Diego, Museum of Photographic Arts, June – August 1984; Haifa, Museum of Modern Art, May – August 1987

Washington, D. C., American Museum of Natural History, This Is the American Earth, December 1992 – January 1993; and traveling thereafter to: Tokyo, Japan, Laforet Museum Espace, February 1993; Nagoya, Japan, Parco Co., Ltd, March 1993; Hiroshima, Japan, Izumi Wizwonderland, March – April 1993; Osaka, Japan, Nankai Electric Railway Co., Ltd., April – May 1993; Yosemite National Park, Yosemite Museum, May – September 1993

San Francisco, Ansel Adams Center, Ansel Adams, a Legacy: Masterworks from the Friends of Photography Collection, March – June, 1997, and traveling thereafter to: Chattanooga, Tennessee, Hunter Museum of Art, July – September 1997; Louisville, Kentucky, J. B. Speed Museum, September – November 1998; Fort Wayne, Indiana, Fort Wayne Museum of Art, December 1998 – February 1999; Japan, Nihombashi, Mitsukoshi Department Store Gallery, March, 1999; Japan, Ehime Prefecture Museum, June – July 1999; Japan, Toyama Prefecture, Tonami City Museum, July – August 1999; Japan, Hokkaido, Kushiro Art Museum, September – October 1999; Japan, Kawasaki City Museum, October – December 1999; Cincinnati, Ohio, Cincinnati Art Museum, May – August 2000

Billings, Montana, Yellowstone Art Museum, Ansel Adams: a Legacy, October 2002 – January 2003 and traveling thereafter to: University of Texas at Austin, Harry Ransom Center, Ansel Adams: a Legacy, August 2005 – January 2006; Loretta and Ligonier, Pennsylvania, The Southern Alleghenies Museum of Art, March – November 2006; Cleveland, Ohio, Cleveland Institute of Art, May – August 2007; Tucson Museum of Art, October 2009 – February 2010; Cartersville, Georgia, Booth Western Art Museum, September 2010 – March 2011; Missoula, Montana, Missoula Art Museum, October 2011 – April 2012; Helena, Montana, The Holter Museum of Art, January – April 2013; Charlottesville, Virginia, University of Virginia, The Fralin Museum of Art, June – October 2013

‘While at Manzanar for a fortnight in the winter of 1944, Virginia and I arose very early in the mornings and drove to Lone Pine with hopes of a sunrise photograph of the Sierra. After four days of frustration when the mountains were blanketed with heavy cloud, I finally encountered a bright, glistening sunrise with light clouds streaming from the southeast and casting swift-moving shadows on the meadow and the dark rolling hills.’

Ansel Adams, Examples: The Making of 40 Photographs (Boston, 1983), p. 164