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

Print (a) depicts the Damri Mosque, which is located in the city of Ahmednagar, Maharashtra. Situated on the Seena River about 120 miles from Mumbai, it was established as Ahmednagar by Nizam Ahmed Shah in the 15th century, on top of the site of an ancient city named Bhingar. He established his sultanate entitled the Nizami Shah dynasty there and constructed many Mughal buildings. The mosque is also known as the Damadi mosque and was constructed between 1567 and 1568. The intricately carved features are minarets distinguished it from other mosques in the area. The city fell to the British in 1817 and was documented in The Antiquarian remains in Bombay Presidency, in which Burgess states that the Damri Masjid is, "...a small building of very neat design, and is decorated with surface ornament, much after the style of the Andu Masjid and similar buildings at Bijapur." The print was perhaps an engraving for a plate to James Gray's Life in Bombay, and the neighboring out-stations, etc' London: Richard Bentley, 1852.

T. Bacon went out to India in 1831, returning in 1836. He held a commission as a Second Lieutenant in the Bengal horse artillery from 2 Nov. 1835 - 1838. His impressions of India were recorded in the text and sketches of his book First Impressions and studies from nature in Hindustan. It was published in London in 1837. His travels took him up the Ganges and as far as Delhi and the Himalayas. Print (b) depicts the ruins at Etala, in the hills and next to a river, a site of religious significance, the destruction was believed to be caused by a battle between Lord Krishna and Kali. They also lie amongst grand Mughal structures, providing quite a picturesque contrast.

Print (c) depicts the ruins of what once must have been a beautiful structure by the waters. In contrast a grand Mughal structure stands adjacent to it, as people go about their daily business.

Print (d) specifically depicts the most elaborate monument at Ellora, the Kailash Nath Temple, dedicated to Shiva, constructed by 8th century Rastrakuta dynasty emperor, Krishna I. The entire temple was cut from solid rock, with intricate religious narratives carved on the walls. Dating back to the 5th and 8th centuries, the religious ruins of Ellora were also dedicated to Jain and Buddhist teachings, making it a very significant spiritual site.

a) Dumree Musjid, Ahmednuggur. London, Richard Bentley, Burlington Street, 1852; Printed by Hullmandel & Walton
b) Ruins at Ettaia, Said to Have Been Caused by a Combat Between Krishna and Kali, Adfeilion Ettaia, (A Wnaed Felly Meddir Trwy Ymryson Rhwng Krishna a Kali); C. Stanfield R.A.; E. Finden; A. Fulllarton & Co. London & Edinburgh
c) Ruins at Monea, Drawn by T. Dibdin from a sketch by T.B. Bacon F.S.A.; Engraved by Finden; A. Fullarton & Co. London & Edinburgh
d) Der Felsen Tempe zu Ellora; Aus d. Kunstanstalt d. Bibliogr. Instituts in Hildbh., Eigenthum d. Verleger; E. Grunewald sc.; LXX 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.