Friday, August 6, 2010
Thursday, July 15, 2010
Dabul, from John Ogilby's Asia, the first part, being an accurate description of Persia, the vast empire of the great Mogol, and other parts of India, etc.--Artist and engraver: Ogilby, John (fl.1673) Medium: Engraving Date: 1673
Egraving by John Ogilby (fl.1673) of Dabhol in the Konkan region of Maharashtra, dated 1673. Dhabol was of considerable importance in the 14th, 15th and 16th centuries. It was the principal port in the southern Konkan, carrying on trade with Cambay, Malabar, the Red Sea and the Persian Gulf, and was the capital of a province of the Bijapur kingdom under Yusuf Adil Shah. John Ogilby was 'Cosmographer, Geographic Printer, and Master of His Majesty's revels in the Kingdom of Ireland' to Charles II. This image, re-engraved from an original Dutch print; hence the Dutch pennant inscription at the top, forms one of the illustrations to Ogilby's 'Asia, the first part, being an accurate description of Persia, the vast empire of the great Mogol, and other parts of India...', published in 1673. Ogilby's description of Dhabol reads, "Four Gau, or twelve Leagues from Chipolone, down the River Helewacko, lies the City Dabul, or Dabrul, anciently very famous, but of late much ruin'd by the Wars, and decreas'd in Trade...It lies open onely on the South-side which fronts the Water, where are two Batteries planted with four Iron Guns. On the Mountains are several decay'd Fortresses, and an ancient Castle, but without any Guns or Garrison. On the Northern Point, where the Bay begins, stands a little Wood, which at a distance appears like a Fort, and below this Wood, near the Water, is a white Temple, or Pagode; as also another on the South Point, on the declining Mountain, besides several other Temples and Stately Edifices."
Panoramic view of Bombay taken from Chinchpoogly hill, Parel, looking towards Cumballa hill and Warli--Artist: Griffiths, Linette Rebecca (b. 1843) Medium: Watercolour Date: 1870-
Watercolour drawing of Bombay taken from Chinchpoogly hill at Parel looking towards Cumballa hill and Warli by Linette Rebecca Griffiths (b. 1843) dating from c.1870s.
In 1661, Bombay was ceded to the British by the Portuguese as part of the marriage dowry of Catherine of Braganza when she married Charles II. The area of Bombay was originally composed of seven islands, including Parel. In the foreground of this late 19th-century view, we can see a townscape with a number of mill or factory chimneys punctuating the skyline. It was probably thanks to this industrialisation that the residence of the British Governor at Parel was moved to Malabar Point.
Malabar Point and Back Bay, Bombay.
Advert for Nubian Blacking, shoe polish
This particular brand of shoe-polish has a racially suspect name. 'Nubia' was the name given by early French explorers to the region of north-eastern Africa around the huge Nile valley; 'Nubians' were by definition this area's inhabitant. While the word 'Nubian' clearly has always had racial connotations, by the 19th century some of these connotations were outright racist: Nubian was now a slang word in English meaning 'black slave'.
Watercolour drawing showing the Holi festival, by an anonymous artist working in the Patna school, c. 1795-1800. Inscribed on the back of the drawing is: 'No.4. The Gift of E.E. Pote Esqr. Elizath Collins. This is a Hindoo Festival celebrated, among other sports, by throwing a red powder enclosed in globes of Lak which break instantly and cover the party with the Powder - this is immediately returned - and thus by partial and promiscuous peltings - the whole Party are entirely covered with the red Powder. The Powder is also put in Water, and the Assembly attack each other with squirts filled with the red water - by the time the Party break up', 'they are so disfigured as scarce to be known'; also' The Festival of the Hoolee.'
Lord Hastings' flotilla on the river, with many pinnace budgerows--Artist: Sita Ram (fl. c.1810-1822) Medium: Watercolour Date: 1814
Watercolour of a river scene on the Ganges river at Buxar from 'Views by Seeta Ram from Patna to Benares Vol. II' produced for Lord Moira, afterwards the Marquess of Hastings, by Sita Ram between 1814-15. Marquess of Hastings, the Governor-General of Bengal and the Commander-in-Chief (r. 1813-23), was accompanied by artist Sita Ram (flourished c.1810-22) to illustrate his journey from Calcutta to Delhi between 1814-15.
This photograph of a Main Street, Bangalore taken in the 1890s by an unknown photographer, is from the Curzon Collection's 'Souvenir of Mysore Album'.The note accompanying this photograph reads, "On either side of the roadway there are open stalls or bazaars, where the tradesmen display their wares arranged in tiers of shelves, all within reach of the salesman, who sits ensconsed among them. Those of a trade generally flock together. During the busy hours of the morning and afternoon, the streets are so thronged with people as to remind one of the crowded thoroughfares of London."
The Divan-i Khass in the Palace in the Delhi Fort--Artist: Ghulam 'Ali Khan (fl.1817-1852) Medium: Watercolour Date: 1817
Watercolour of the Divan-i Khass in the Palace in the Delhi Fort, by Ghulam 'Ali Khan, 1817. This drawing shows the red awnings and 'shamianas' fully rigged, a scene of vigorous activity beneath as a palanquin is prepared for the Emperor's departure, with various figures going about their duties. Inscribed beneath in ink in Persian: ''amal-i Ghulam 'Ali Khan musavvir fidvi-i Muhammad Akbar Shah Padshah Ghazi san 11 panjum mah-i shavval' (the work of Ghulam 'Ali Khan the painter, in the 11th year of Akbar Shah, 5th day of the month Shavval); and under the appropriate buildings from the left: ''aqb-i hamam' (back of the baths); 'naqsha-i anjuman-i Divan-i Khass dar darul khilafah Shahjahanabad' (the body of people in front of the Divan-i Khass)'; tasbih khana'(the emperor's prayer chamber on the south of the latter)'; hamam andrun-i mahall-i mubarak' (baths within the private part of the palace)'; jalau khana' (entrance hall on the extreme right)'; burj musamman' (on the golden dome). On the reverse is a faded inscription in English: 'Diwan Khass in the King's Palace ....' The Red Fort or Lal Qila, was constructed by Shah Jahan (r.1627-58) for his
The Great Gun of Agra lying beside the Fort wall--Artist: Sita Ram (fl. c.1810-1822) Medium: Watercolour Date: 1815
Watercolour of the Great Gun of Agra, lying unmounted on the bank of the Jumna below the Shah Burj of the Agra Fort, by Sita Ram, c. 1814-1815. Inscribed below: 'Doond Hanee or great Gun lying at Beessara Ghaut at Agra'.
The Great Gun of Agra can be seen lying unmounted on the bank of the Jumna River below the Shah Burj of the Agra Fort. A small temple and ruins of Mughal buildings can be seen in the foreground along with people (some inside the gun) and an elephant. In the distance across the river is the Taj Mahal and its red sandstone gateway. The Great Gun was once one of the sights of Agra and its name is apparently a corruption of 'dhun dhvani' ('Roar of an explosion'). It was destroyed in 1833 on the orders of the Governor-General Lord William Cavendish Bentinck, for the sale of the scrap metal to finance the construction of a permanent bridge across the Jumna at Agra.
This lithograph is taken from plate 18 of Emily Eden's 'Portraits of the Princes and People of India'. Eden described the image on the left as one of "a favourite and successful young student at the Hindoo College, in Calcutta, where scholars acquire a very perfect knowledge of English, and have a familiarity with the best English writers which might shame many of our own schools. The Hindoo youths have an extraordinary aptness and precocity as scholars, and their exhibitions are very interesting and gratifying. This young student, who was the son of a native gentleman of rank in Calcutta, recited English poetry with particular grace and propriety."
Plate twenty-seven from the first volume of James Forbes'"Oriental Memoirs", a work in the form of a series of letters richly illustrated, describing various aspects of nature, people and buildings he met with during his travels in India in the 1760s-70s. Forbes(1749-1819) spent most of his working-life in Gujarat where he held the post of Collector in Bharuch and Dhaboi. Of the Surat city in Gujarat on the banks of the river Tapti, Forbes noted, 'This engraving represents this celebrated city in the most interesting point of view, from the English Factory to the Dutch bunder, taken on the opposite side of the river. In the centre is the Castle, with the British and Mogul colours on the towers; the more distant flag surmounts the Portuguese Factory.'
Advert for Huntley & Palmer, biscuit manufacturer--Printer: Unknown Medium: Lithograph, coloured Date: 1882
This is an advertisement for Huntley & Palmers, a well known 19th Century biscuit manufacturing company. In 1822 Joseph Huntley opened an ironmongers opposite his brothers bakery in London Street, Reading. Joseph made airtight boxes for his brother Thomas’, biscuits so that they could be transported across the country staying fresh and unbroken. George Palmer joined the company in 1841 and introduced machinery to the biscuit production. By 1857, 5000 people were employed in their factory and it was the largest biscuit factory on the world. Palmer used their growing reputation to establish global links and soon biscuits were being exported to America, India and Australia.
Cook returning from the bazaar followed by a coolie carrying vegetables.-- Artist: Bani Lal (c.1850-1901) Medium: Watercolour Date: 1880
Watercolour of a cook returning from the bazaar, part of the Archer Collection, by Bani Lal (c.1850-1901), c. 1880.
The artist Bani Lal was known for his watercolours that portray Indian people performing trades and occupations. This drawing is rendered in the Patna style of Company painting and depicts two men returning from a bazaar. Company painting is a style of miniature painting that developed in the second half of the 18th century in response to the tastes and influences of the British serving with the East India Company. The style first emerged in Murshidabad in West Bengal and subsequentlyspread to other British centres, the most notable being Patna, Benares (Varanasi), Delhi andLucknow. Patna is in Bihar and is situated on the southern bank on the Ganges River.