Shipment charges are calculated based on the location of the artwork.

Bridge at Delhi Leading to the Palace of the Mogul, print (a) is a reproduction of an engraving made based on photographs taken by Mr Beresford, the secretary of Delhi bank, printed for The Illustrated London News in 1857, the year of the mutiny and rebel uprisings. The print depicts a bridge leading to a palace gate. The portion of the palace shown was inhabited by Captain Douglas, commander of the palace guards, and by the Rev. Mr. Jennings and his daughter who were murdered during the mutiny.

Print (b) depicts the stone bridge in Lucknow, that was built across the Gomti river in 1780. The construction began during the reign of Nawab Safdar Jang (1739-1753), but it was only finished when his grandson, Nawab Asaf-ud-daulah was in power. It was strategically used by Thomas Henry Kavanagh (1821-1882), assistant commissioner of Oudh, during the Indian Mutiny (1857-1859), as he guided a relief force across the bridge to the besieged Residency. Like most of Lucknow's monument of the time, the bridge was made of brick and covered with a form of polished stucco made from burnt seashells. This print was most likely a lithograph (plate no. 25) from General Views and Special Points of Interest of the City of Lucknow', a series of 27 colored lithographs by R M Bryson, E Walker, F Jones after Lieutenant-Colonel D S Dodgson, published by Day and Son, 1 September 1860.

Published for Views in India, China, and on the Shores of the Red Sea, Volumes 1-2 by Robert Elliot, and Emma Roberts, print (c) depicts a bridge in Teree, in the Gurwall district in Northern India. Bridges made from grass ropes were typical of mountainous areas near the Himalayan foothills, the invention of local mountaineers. Described by Emma Roberts: "Teree is a small insignificant place, distinguished only by its scenery, and the bridge which throws its graceful festoon over the rapid and rock bound stream below. The ropes of this bridge are constructed from the long coarse grass which grows on the sides of the hills; formed with three strands; they are obliged to be renewed constantly and even when in their best condition, the passé across is rather a nervous undertaking."

Bridge at Bhurkote, print (d), depicts a bridge in the city of what is now Barkot in northern state of Uttrakhand, another region with extremely mountainous and hilly terrain. As described in the book "The Indian Empire: history, topography, geology climate, population, chief cities and provinces; tributary and protected states; military power and resources; religion, education, crime; land tenures; staple products; government, finance, and commerce. With a full account of the mutiny of the Bengal army; of the insurrection in western India; and an exposition of the alleged causes", printed c. 1858-60, it is possible the print appeared in this book. The bridge is described as: "perfect specimen of the architecture by Himalayan engineers. When as in the case of the stream at Bhurkote, the space is too wide to be spanned by single trees, the banks on either side are brought nearly to a level by means of stone buttresses of solid construction; these are surmounted by rows of stout beams laid close to each other, one end projecting about one fourth of their extreme length across the stream, and the other firmly secured to terra firma. Over them another row of beams is placed projecting still further and supported by those below; and in this manner these ides are raised, floor above floor, until the vacant space between may be crossed by single planks. The whole is very skillfully put together neither glue, nails or ropes being employed; the absence of those articles, and the tools which a European working man would consider necessary for any structure of the kind, being supplied in a very ingenious manner by contrivances that are quite sufficient for the purpose. Even the masonry is occasionally bound together with a framework of wood, employed as a substitute for mortar, and so admirably managed as to give great strength and solidity to the fabric. The platform across is furnished on either side with rails; but although they afford some appearance of safety, the springing motion of the planks and the rapidity of the current hurries along the rocky bed beneath render considerable steadiness of brain necessary in crossing. This bridge is constructed of a specifies of larch and the river is shaded by some very fine alders which here attain a gigantic size."

a) Bridge at Delhi Leading to the Palace of the Mogul, From the Agra Road, July 18th 1857, From the Illustarted London News, July 18th 1857
b) View of Stone Bridge from Moosah Bagh End of the City (No. 25)
c) Grass Rope Bridge at Teree, Gurwal;, Drawn by David Cox; Engraved by W. Taylor; The London Printing and Publishing Company Limited
d) Bridge at Bhurkote; by H. Melville; Drawn from nature by G.F White, ESQ.; E. Finden; The London Printing and Publishing Company Limited

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.