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Description
The Hoolie Festival, print (a), is a depiction of the festival of colours - Holi. A colored illustration for a newspaper, this large print portrays a scene of ongoing festivities, celebrated amongst a large congregation in a hall.
Another hand colored illustration for a newspaper; The Mohurrum Festival in Bombay , print (b), was published for The Illustrated London News in 1885. The print is divided into four scenes, each one depicting a different aspect of the festival. Muharram falls in the first month of the Islamic calendar, commemorating the sacrifices of Husain bin Ali, grandson of Mohammed. It is a month in which fighting is prohibited, and involves a lot of processions, mourning's, and gatherings. The first scene captures the procession that takes places on the 10th day, also known as Ashura, specifically honoring and mourning the loss of Husain during the Battle of Karbala (which is now a pilgrimage site). Scenes two and four are images of the model of his tombs moving through the crowds. Scene three shows a scene captured from a play showcasing the story of his life and sacrifices.
The third newspaper illustration in this lot, Racing in the East-Turf Notes at Umbala and Hong Kong , print (c), was published for The Graphic in 1881. The races in Hong Kong, and Ambala (India), in two different British colonies, are the subjects of depiction. The top of the image shows the introduction of the Rickshaw as a new vehicle, introduced in Hong Kong in 1880. Just below it, the derby in Ambala is contrasted with that of the Races in Happy Valley, Hong Kong. The juxtaposition of the same event in two different colonies distinguishes this print.
a) The Hoolie Festival; From The Illustrated London News, April 3 1858
b) The Mohurrum Festival in Bombay: A Moslem Passion-Play (1. The Bhenzi Bazaar before the procession; 2. The Kaji Mahola Taboot in the Null Bazaar Road; 3. Scene in the Passion-Play: Hussein taking farewell of his family;
4. The Kasir Mahola Taboot), by JF. Weeuon; From The Illustarted London News, Nov. 7 1885
c) Racing in the East-Turf Notes at Umbala and Hong Kong, From The Graphic, June 4 1881
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.