one of a series of thirty photographs of house-moving in Maine, some of which were used in "The House That Moved to the Sea," Woman's Home Companion (July 1924) [15/30]
one of a series of thirty photographs of house-moving in Maine, some of which were used in "The House That Moved to the Sea," Woman's Home Companion (July 1924) [15/30]

Currently not on view

one of a series of thirty photographs of house-moving in Maine, some of which were used in "The House That Moved to the Sea," Woman's Home Companion (July 1924) [15/30],

ca. 1910

Clarence H. White, 1871–1925; born West Carlisle, OH; died Mexico City, Mexico; active Ohio and New York
x1983-833

Information

Title
one of a series of thirty photographs of house-moving in Maine, some of which were used in "The House That Moved to the Sea," Woman's Home Companion (July 1924) [15/30]
Dates

ca. 1910

Maker
Clarence H. White
Medium
Platinum print
Dimensions
image: 11.7 x 9.5 cm (4 5/8 x 3 3/4 in.) mount: 12.1 x 10.1 cm (4 3/4 x 4 in.)
Credit Line
The Clarence H. White Collection, assembled and organized by Professor Clarence H. White Jr., and given in memory of Lewis F. White, Dr. Maynard P. White Sr., and Clarence H. White Jr., the sons of Clarence H. White Sr. and Jane Felix White
Object Number
x1983-833
Place Made

North America, United States, Maine

Culture
American
Type
photographs
Techniques
platinum process
Subject
men, figures (representations), buildings, houses

Created by Clarence H. White Sr., the artist; by descent to Clarence H. White Jr., on or after July 8, 1925 [1]; by descent to Clarence H. White Jr.’s widow, Ruth Royer White, 1978 [2]; bequest, to Princeton University Art Museum, 1983 [3].
Notes:
[1]. Possibly on the occasion of Clarence H. White Sr.’s death, as part of the Clarence H. White Collection.
[2]. On the occasion of Clarence H. White Jr.’s death.
[3]. Carried out by Ruth Royer White on behalf of Clarence H. White Jr.

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The Museum regularly researches its objects and their collecting histories, updating its records to reflect new information. We also strive to catalogue works of art using language that is consistent with how people, subjects, artists, and cultures describe themselves. As this effort is ongoing, the Museum’s records may be incomplete or contain terms that are no longer acceptable. We welcome your feedback, questions, and additional information that you feel may be useful to us. Email us at collectionsinfo@princeton.edu.

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