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Mindhla after its capture

Mindhla after its capture

Photographer: Hooper, Willoughby Wallace (1837-1912)

Medium: Photographic print

Date: 1885

Shelfmark: Photo 312/(10)

Item number: 31210

Length: 14.3

Width: 19.1

Scale: Centimetres

Genre: Photograph

Photograph of Minhla in Burma (Myanmar) after its capture by the British, taken by Willoughby Wallace Hooper in 1885. The photograph is one of a series documenting the Third Anglo-Burmese War (1885-86) made by Hooper while serving as Provost Marshal with the British army. In early November 1885 British forces advanced swiftly up the Irrawaddy River from Rangoon, the capital of British Burma, towards Mandalay, the Burmese royal capital, in craft requisitioned from the Irrawaddy Flotilla Company. At Minhla the British encountered resistance from the Burmese, who held the fort on the right bank of the river. After a fierce engagement, the British took the fort, with losses on both sides and a large number of Burmese taken prisoner. This view records in graphic detail a scene of death and devastation after the fighting, described by Hooper in a caption accompanying the print: “The trees and some sheds and outbuildings had been set on fire by the shells fired from the river. The gun was one of the enemy’s. The white pony across which a body is lying belonged to one of their Generals.” The war culminated in the annexation of Upper Burma on 1 January 1886 by the British and the exile of King Thibaw (reigned 1878-1885), the last of the Burmese kings, and his queen Supayalat, to India. Hooper was a dedicated amateur photographer and his Burma war series is considered “one of the most accomplished and comprehensive records of a nineteenth century military campaign”. It was published in 1887 as ‘Burmah: a series of one hundred photographs illustrating incidents connected with the British Expeditionary Force to that country, from the embarkation at Madras, 1st Nov, 1885, to the capture of King Theebaw, with many views of Mandalay and surrounding country, native life and industries’. There were two editions, one with albumen prints, one with autotypes, and a series of lantern slides was also issued. The series is also notable for the political scandal which arose following allegations by a journalist that Hooper had acted sadistically in the process of photographing the execution by firing squad of Burmese rebels. The subsequent court of inquiry concluded that he had behaved in a “callous and indecorous” way and the affair raised issues of the ethical role of the photographer in documenting human suffering and the conduct of the British military during a colonial war.

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