[The Taj Mahal from the Gateway]

John Murray British, Scottish

Not on view

Of all the photographs Murray made of the Taj, the most impressive are his triptych panoramas, taken from the roof of the entrance gate and looking down and across the formal gardens to the mausoleum beyond. Perched high above the heavily wooded gardens, the pale building appears almost translucent in the early morning sunlight. So often described as a tribute to feminine beauty, the monument itself becomes an architectural odalisque reclining against dark silky billows.

[The Taj Mahal from the Gateway], John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham, Norfolk county, England), Albumen silver prints from waxed paper negatives

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[The Taj Mahal from the Gateway], John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham, Norfolk county, England), Albumen silver prints from waxed paper negatives
[The Taj Mahal from the Gateway], John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham, Norfolk county, England), Albumen silver prints from waxed paper negatives
[The Taj Mahal from the Gateway], John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham, Norfolk county, England), Albumen silver prints from waxed paper negatives
[The Taj Mahal from the Gateway], John Murray (British, Blackhouse, Aberdeenshire, Scotland 1809–1898 Sheringham, Norfolk county, England), Albumen silver prints from waxed paper negatives

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