Henry White
The Mill at Weybridge

ArtistBritish, 1819–1903
CultureBritish
Titles
  • The Mill at Weybridge
Date1856
Place depictedWeybridge, England
MediumAlbumen silver print from glass negative
DimensionsImage: 7 13/16 × 9 5/8 in. (19.8 × 24.4 cm)
Sheet: 7 13/16 × 9 5/8 in. (19.8 × 24.4 cm)
Mount: 15 1/8 × 22 1/16 in. (38.4 × 56.1 cm)
Credit LineGift of Manfred Heiting, the Manfred Heiting Collection
Object number2004.796
Current Location
The Nancy and Rich Kinder Building
Gallery 208
Exposé

Explore Further

Department
Photography
Object Type
Description

Like
many other gentleman-amateur photographers in mid-19th-century Britain—a period
of industrialization and the social and political changes that came with
it—Henry White most frequently turned his camera on serene passages of the
English landscape or scenes that spoke of a time-honored way of life. The mill
shown here was likely the old Ham Haw Mill that sat between the River Wey and
the adjacent canal near their confluence with the Thames about twenty miles
southeast of London. Over time, the water-powered mill, first built in the late
17th century, was used for the production of paper, then flour, brass and iron
work, and eventually oilseed crushing.





In this
photograph, the crystal-clear atmosphere and exceedingly fine detail—every
brick, every leaf is visible—were made possible by White’s use of a new process
introduced in the early 1850s: a negative of glass rather than paper. Glass
negatives combined the best attributes of the first two photographic
processes—the clarity of the daguerreotype and reproducibility of Talbot’s
negative-positive process—and would become the dominant photographic process
for the next few decades.




ProvenanceRobert Hershkowitz Limited, Sussex.

Bought by Manfred Heiting from Robert Hershkowitz Limited, Sussex, on 11/23/1986.
Inscriptions, Signatures and Marks
Inscribed in pencil, recto, lower left: The Mill at Weybridge. H. White.
Printed in black, recto, lower center: Photographed by Henry White.
The photograph does not appear to be signed.

Cataloguing data may change with further research.

If you have questions about this work of art or the MFAH Online Collection please contact us.

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