Exterior of a Boiling House, on Weatherell's Estate

Description

This image depicts a white overseer watching enslaved people hauling sugar cane trash to a fuel furnace in sugar bags on ox carts. Little is known of William Clark although he was probably a manager or overseer of plantations in Antigua. The ten prints in the collection were based on his drawings, converted into prints by professional printmakers. All of the prints are shown and extensively described in T. Barringer, G. Forrester, and B. Martinez-Ruiz, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (New Haven: Yale Center for British Art in association with Yale University Press, 2007), pp. 318-321.

Source

William Clark, Ten Views In the Island of Antigua, in Which are Represented the Process of Sugar Making. . . From Drawings Made by William Clark, During a Residence of Three Years in the West Indies (London, 1823). Copy in Beinecke Lesser Antilles Collection, Hamilton College Library, Clinton, NY.

Creator

Clark, William

Language

English

Rights

Image is in the public domain. Metadata is available under Creative Commons Attribution-NonCommercial 4.0 International.

Identifier

Hamilton1

Spatial Coverage

Caribbean--Jamaica

Citation

"Exterior of a Boiling House, on Weatherell's Estate", Slavery Images: A Visual Record of the African Slave Trade and Slave Life in the Early African Diaspora, accessed October 25, 2021, http://slaveryimages.org/s/slaveryimages/item/1062
This image depicts a white overseer watching enslaved people hauling sugar cane trash to a fuel furnace in sugar bags on ox carts. Little is known of William Clark although he was probably a manager or overseer of plantations in Antigua. The ten prints in the collection were based on his drawings, converted into prints by professional printmakers. All of the prints are shown and extensively described in T. Barringer, G. Forrester, and B. Martinez-Ruiz, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (New Haven: Yale Center for British Art in association with Yale University Press, 2007), pp. 318-321.
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