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

Sir William Jones founded the Asiatic Society of Bengal in 1784 in Calcutta in order to enhance the cause of Oriental research. The established aim of the society was to observe and document different regions of Asia and its culture, "The bounds of investigations will be the geographical limits of Asia, and within these limits its enquiries will be extended to whatever is performed by man or produced by nature." Furthermore these observations were to be published a series of journals, which include illustrations that are presented in this lot of prints.

The Temple at Oomga, print (a) is located in the east in Gaya (Bihar). In this view looking directly onto the temple, there is a freestanding pillar in front of the mandapa, and the shikara is seen beyond.

Manasbal Lake is a lake located in the State of Jammu and Kashmir, and is stated as being one of the deepest Lakes in India. The lake is surrounded by the Baladar Mountains, and by the Mughal garden Garoka, built by Nur Jahan, which overlooks the lake. The temple depicted in print (b) is located on the eastern shore of the lake, and is half submerged in the water. Dating back to the 8th century, built during the Avantivarman or Sankaravarman dynasties, it was built in the traditional style of ancient Kashmir, the pyramid shaped roof with floral motifs proves to be quite unique, as is detailed in the print.

The city of Konch is located in Gaya in the state of Bihar. The temple complex of Konch was built during the Gupta period (8th century) and the temple depicted in print (c) is known as the Koncheswar Mahadeva Lingam Temple, dedicated to the Lord Shiva. The Lingam, the most prominent feature of the temple, and in the print, was said to be added later, as the temple was initially created as a Buddhist Shrine.

Print (d) depicts architectural detail from the Hajo temple in the eastern state of Assam, on the banks of the Brahmaputra River. It is more famously known as the Hayagriva Madhava temple, situated on a hill, and is a sacred pilgrimage spot for both Hindus and Buddhists. The entire structure rests over enormous brick pillars, and was reconstructed in the 16th century adding onto the original structure of the temple, possibly constructed by the King of Pala in the 6th century. The temple enshrines an image of Lord Vishnu, The rows of elephants that are seen on the body of the temple are typical of Assamese art.

Lidar, is the name of a stream that converges with three other streams in the Kashmiri city of Anantnag (meaning abode of springs and lakes), to form the flow of the River Jhelum. It is an ancient city, the existence of which dates back to 5000 BCE, making it one of the oldest human settlements in the world. Print (e) depicts the ruins of what was perhaps the wall of the entrance to the Martand temple, an ancient temple complex that was destroyed during the reign of Sultan Sikander.

Prints (f) - (h) depict various temples in a specific pargana in Kashmir. A pargana is a former administrative unit that was established during the Mughal Era.

a) Oomga Temple, Drawn on Stone by Kristo Hari Das Student, Govt. School of Art Calcutta; Lith: by H. Niven S.G.O. Calcutta, May 1866; From Journal As: Soc:XXXV Plate IV
b) Temple in Lake at Monusbal, On stone by Kristo Hari Das Student, Govt. School of Art Calcutta; Lith: by H. Niven, Surveyor Genl'g Office Calcutta, July 1866; From Journal As: Soc: XXXV P.I. Plate XIX
c) Temple of Konch from a Photograph by J.H. Peppe Esq.re; Drawn on Stone at the Govt. School of Art Calcutta by Kristohurry Dass Student; Lith: by H.M. Smith, Surveyor General's Office, Calcutta, March 1866; Journal As:Soc: XXXV p.I Plate XVII
d) Part of the Hazoo Temple; T. Black, Lrthr Asiatic Lith: Press; PL XXVIII
e) Temple at Lidar (in Water); Drawn by R. T. Burney Esq.re C.S.; On Stone by Kristo Hari Das Student Govt: School of Art Calcutta; Lith:by H. Niven Surveyor Generals Office Calcutta, July 1866;From Journal As: Soc: XXXV P.I. Plate XIV
f) Temple in the Lar Parganah, Kashmir; Photozincographed at the Surveyor General's Office Calcutta; Journal As. Socy. Bengal, Vol. XXXVIII., Part I, 1869. Plate III
g) Temple in the Lar Parganah, Kashmir; Photozincographed at the Surbeyor General's Office Calcutta; Journal As. Socy. Bengal, Vol. XXXVIII., Part I, 1869. Plate II
h) Temple in the Lar Parganah, Kashmir; Photozincographed at the Surveyor General's Office Calcutta; Journal As. Socy. Bengal, Vol. XXXVIII., Part I, 1869. Plate IV

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.