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Jules Boilly (1786-1874) was a French artist. He illustrated the book "Voyage Pittoresque en Asie et en Afrique: résumé general des Voyages Anciens et Modernes" in 1839, for which some of these prints were originally created.

Paysans de Bahor, Print (a), was most likely a print made for Voyage Pittoresque en Asie et en Afrique: résumé general des Voyages Anciens et Modernes. It depicts an old man and a child, both either villagers or peasants in a rural setting.

The 'pagoda' or temple in Rameswaram, Tamil Nadu, is part of a large temple complex that exemplifies the intricacies of South Indian religious architecture. It has been portrayed in a number of illustrations and prints, always categorized as a 'Pagoda'. It is believed to be the site where Rama worshipped Shiva after the battle of Lanka, part of the Ramayana epic. The temple complex was founded during the Chola dynasty, but was constantly being built upon. What remains belongs mostly to the Nayaka dynasty of the 17th and 18th centuries. The complex is contained within high walls, and is particularly famous for the high archway entrance that is depicted in print (b).

Pagodes sur le Hougli, print (c), depicts a small temple on the famous Hoogly river which flows through the state of Bengal and city of Kolkata. A canal extension of the Ganges, the Hooghly also known as the Bhagirath - is named after the town of Hugli - Chinsura, which is located on the river and is in the Hooghly district. Its upper reaches are known as the Bhagrathi, which literally means "caused by Bhagiratha," a mythical prince who was vital to bringing the river Ganges from the heaven to the earth, in order to release his family from a curse. The spirituality and religious aspect attached to rivers in India, especially the Ganges, made river banks common places to erect temples.

The famous Buddhas of Bamian which no longer exist following the Taliban bombings in 2001 are depicted in print (d). Located in Bamian, central Afghanistan, these monuments were built in the 6th century and exemplify the Gandharan style of sculpture. The print captures their true stature in size, as the detail of the work contains miniscule figures that are starkly contrasted with the monumental statues.

Sindhiens, print (e) depicts two men from the region of Sindh in western India, who are perhaps warriors, judging from their shields and garments. Prints like these were most likely created in attempts to classify and identify the diverse populations of India.

a) Paysans de Bahor
b) Pagode de Ramissiram
c) Pagodes sur le Hougli
d) Idoles de Bamian
e) Sindhiens

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.