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William Daniell (1769-1837) was the nephew of the great landscape artist, Thomas Daniell, who he accompanied to India from 1785 to 1793. Daniell along with his uncle managed to meet the new middle- class taste for sceneries from India, and in 1834 he provided most of the drawings for the first "Oriental Annual" where images were accompanied by text as to create an imaginary journey through India. The present prints were included in the Oriental Annual or Scenes in India.

Although the Daniells were mostly known for their landscapes, occasionally they did portraits. Print (a) is a portrait of a man who is perhaps a notable member of the Mughal court, named Syud Ameer Shah.

Print (b) depicts Mahadaji Shinde, also known as Mahadaji Scinda who was a Maratha ruler of the state of Gwalior, in central India. He was the key figure in resurrecting Maratha power in North India after the Third Battle of Panipat in 1761 and rose to become a lieutenant of Peshwa, who was the leader of the Maratha Empire. During his reign, Gwalior became the most powerful state in the Empire from a military perspective, as well as in India. After accompanying, Shah Alam II in 1771 to Delhi in order to restore the Mughal rule in Delhi, with the support of the Marathas, Mahadji became Vakil-al-Mutlaq (regent of Mughal affairs), additionally he was given the title Amir-al-Umara (head of the amirs) in 1784 by the Mughals.

a) Syud Ameer Shah (Vide a Tale of Khelat), Drawn by W. Daniell; Engraved by J. Cochran
b) Mahadagee Sindia, Drawn by W. Daniell; Engraved by W.D. Taylor; B late Dixon; London, Published October 1, 1833 by Edw. Bull, 20 Holles Street, Cavendish Square

These prints are in good condition. The prints have survived several decades and may show some signs of wear and tear. This does not in any way detract from their beauty or value.

These items are sold unframed. They are available for viewing in Saffronart's London gallery.

About Poems in Print: People and Places of India

The fusion of romanticism and documentation is exhibited in this new collection of 18th – 19th century British prints of colonial India. Illustrated from an Oriental perspective, these prints served as valuable displays or notes of observations that were forming through the discovery of a vast and newly conquered India. While they were incredibly useful for purposes of documentation, they also evoked a romantic sense of adventure that is usually associated with Orientalism.

A diverse group of artists are represented in the collection, both amateur and established artists are included, while some came from military backgrounds, others were skilled print makers and engravers. Each provided a unique perspective on their discoveries of and fascination with the people and places of India. A few of the artists represented include William Daniell, John Luard, Charles Gold, and Thomas Bacon. Most prints were based on sketches that were made during their travels, and printed as artworks, while others were published in British Newspapers such as The Illustrated London News. Others were used for more academic purposes, such as those made for the Journal of the Royal Asiatic Society of Bengal. The publishing and distribution of all these prints had one unified result, which was to establish an image of India with the people of Britain, and Europe at large, thus whether they were intended to or not they became instrumental in creating perceptions and notions of what India was.

Thus the historical value of these works lie in their representation of an 18th and 19th century India, as well as the educative role they fulfilled in informing all those who were unable to see India for themselves. While their artistic value lies in the unique aura that each work revels in, each artist managed to convey a romanticism that is evoked through the exploration of the people and places of a new land and culture.