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Fort of Dowlutabad (near Elora), print (a), portrays the colossal Fort in Daultabad, Maharashtra, which was built on top of a 200-meter hill. Steep flights of steps lead to the citadel, which is surrounded three barriers of entry from the outer wall. For the utmost protection, a series of underground passages were constructed leading to the citadel. This print depicts the fort from a head-on perspective and was published in the June 1824 edition for the Gent. Magazine.

Robert Elliott entered the Navy as a first class volunteer on 26 February 1802 and he served as a Midshipman from June 1802. He was sent to India in 1808, where he became Lieutenant. He was an amateur artist, and his work became well known through the publication of his book the literary gazette. Another portrayal of the Fort of Daulutabad, The Fortress of Dowlutabad, print (b), sketched by Capt. R. Eliot depicts the historically significant site from a much further perspective contextualizing it within its' surrounding. Since the 9th century the city was known as Devagiri or 'Hill of the Gods,' and was the capital of a confederacy of central Indian tribes. In the 13th century attempts were made to occupy the fort, which were ultimately realized by Sultan Muhammad bin Tughluq, who renamed the town Daulatabad or 'Abode of the Gods.' Subsequently the fort was taken by a number of ruling dynasties before the Marathas claimed it in the mid 18th century.

Claude Martin (1735 - 1800) was a soldier posted in India with the French army in Pondicherry. When the French lost their colony of Pondichéry in 1761, he accepted service in the Bengal Army of the East India Company in 1763, ultimately rising to the rank of Major General; he resided in India till his death. Suvanadurga Fort, print (c), is located on a small island in the Arabian Sea, along the West Coast of India, in Maharashtra, built by Shivaji, founder of the Maratha Empire, in 1660. Translated into 'Golden Fort' it was considered the pride of the Marathas. The Martaha Navy specifically, used it for strategic defense purposes, to counter attacks by European colonists and local war lords. This print involves a very detailed labeling of the fort, perhaps used for military purposes.

William Hodges (1744 - 1797) was the first professional landscape artist to visit India to meet the new demand for paintings of Indian scenery. His architectural subjects depicted many little known Muslim tombs and mosques, temples, forts and palaces in northern India. He published a treatise on architecture, which is notable for the value it gave to forms other than the classical. He exhibited 25 oil paintings at the Royal Academy between 1785 and 1794 and also engraved 48 aquatints of his drawings for his select views in India published between 1785 and 1788.

The Munger Fort, print (d), located at Munger (previously known as Monghyr) Bihar, India, is built on hill on the south bank of the Ganges River. It is believed to be built during the early rule of the Mamluk dynasty, under the control of Muhammad bin Tughluq (1325-1351 AD). A succession of ruling dynasties (Khaljis, Tughlaqs, Lodis, Nawabs of Bengal) took control of it until till it was finally seceded to the British by Mir Quasim (1760-72). Hodges visited Munger early in 1781, in description of the fort Hodges states: "The fort was built in the middle of the last century, by Sultan Sujah but the place is famous for being a military station many centuries back. The area within the walls of the fort is very considerable. It is generally made a station for a part of the English troops; and there is a house here for the commanding officer. This view shows the great care that has been taken to make this fortress formidable. A ditch, originally not less than forty feet in depth and as many in breadth, surrounded the land side, and communicated the river at either extremity most perfectly insulating it." He often exaggerated proportions and foreshortened perspective while drawing monuments, as in this print, which was published in European Magazine in 1790.

a) Fort of Dowlutabad near Elora; by W.J. Del, R. Cooper, Gent. Mag, June 1824, Pl. II p. 521
b) The Fortress of Dowlutabad (Forteresse de Dowlutabad, Die Festung Dowlutabad); drawn by W. Purser; Sketched by Capt. R. Eliot; R.N. Engraved by R. Sands, Fisher Son & co London, 1846
c) Sebe View of Savendrooghill Fort from Arock at about 600 yards distant, Drawn by Col. Claude Martin; W. Thomas sculp, Published by J Sewell 32 Cornhill; 1 May 1702
d) The East End of the Fort of Mongheer, Drawn on the spot by W. Hodges Esq.; Engraved by Morris, Published by J. Sewell 32 Cornhill, Sept. 1 1790; European Magazine

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.