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Photographs of India
| Title |
India 1872 |
| Reference |
Y3022D |
| Creator |
Various |
| Covering Dates |
circa 1862-circa 1872 (Although the album is dated '1872', many of the photographs were taken earlier.) |
| Extent and Medium |
53 images in 1 album; Good condition. |
|
| Content and context |
A collection of captioned photographs in an album. The photographs are views in Delhi, Agra, Fatehpur Sikri, Benares, Cawnpore, Sikandra, Bharatpur, Deig, Gwalior, Bombay and Elephanta. |
| Further information |
Indexed |
| Index Terms |
| Asia |
| India |
| RCS/Y3022C-E/Y3022D contains: |
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1
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The Palace, Delhi. 294 x 214 mm. View from the Jamma Musjid looking east across open ground towards the palace and fort, with the River Jumna in the background. In the right foreground Khas Road leads away to join Elgin Road which runs along the walls of the Fort. The Lahore Gate can be seen to the left of centre on the west wall, with the Delhi Gate on the south wall. The palace was built by the emperor Shah Jahan between 1638 and 1648 as his residence in the new capital of Shahjahanabad. Bourne no. 1347.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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2
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The Palace, Lahore Gate. 287 x 226 mm. View of the Lahore Gate from the NE. The main entrance to the palace projects from the W and is decorated by domes and minarets, the entrance arch itself being in the N façade. It was during the attempted storming of the Lahore Gate in the Indian Mutiny that Brigadier General John Nicholson (1821-1857) was mortally wounded. He is buried near the Kashmir Gate. Duplicate at Y3022U/13. Bourne no. 1349.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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3
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The Palace, interior of the Dewan-i-Kass. 291 x 238 mm. View of the interior of the Diwan-i-Kas or Hall of Private Audience situated near the E wall of the palace overlooking the River Jumna. The mostly highly ornamented of Shah Jahan's buildings, the interior is of white marble inlaid with precious stones in decorative patterns, with the famous Persian inscription running round the roof, 'If there is a heaven on earth, it is this, it is this'. Duplicate at Y3022U/15. Bourne no. 1350.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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4
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The Palace, the Motee Musjid. 294 x 227 mm. View of the courtyard and entrance (W facade) of the Pearl Mosque, situated just to the NW of the Diwan-i-Kas. The marble courtyard leads to a short flight of steps mounting to a verandah fronted by a double row of three multifoil arches of florid design. The mosque was built by Aurangzeb in 1659. Bourne no. 1351.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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5
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The Jumna Musjid. 296 x 241 mm. The mosque is situated to the W of, and faces the Palace. Built of red sandstone and white marble between 1644 and 1658. Bourne no. 1354.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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6
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The Kashmir Gate. 295 x 237 mm. View showing the N facade (exterior) of the Kashmir Gate with the dome of Skinner's Church in the background. The view looks along the moat and shows the bullet and shell damage which this gateway to the city sustained during the Indian Mutiny. The double arched gateway formed the N entrance to the city and was one of the points of entry when British forces occupied the city in 1857. Bourne no. 1357.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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7
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The Church [Skinner's Church]. 296 x 233 mm. General view, looking across an open space, of Skinner's Church, dedicated to St James. The church is situated just inside the Kashmir Gate and was erected in 1836 at the expense of James Skinner (1778-1841) of Skinner's Horse. It is built in the form of a Greek cross, with three of the arms terminating in hexastyle Tuscan porticos, the fourth forming the choir. Around the circular central mass pilasters alternate with windows and blind sections, the whole surmounted by a dome supported on an octagonal drum. Bourne no. 1358.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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8
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The Kutub Minar and surrounding ruins. 294 x 242 mm. Showing the Kutub Minar with the ruins of the mosque to the right. The top of the famous iron pillar (see Y3022L/11) can be seen between the two archways in the courtyard. The view looks W from the Court of Ala-uddin. To the left of the Katub is the Alai Darwazah, a red sandstone domed building built in 1310 AD and forming the S entrance to the mosque enclosure. See plan of the ruins in Murray's 'Handbook for travellers in India Burma and Ceylon' (1909 edn. p. 209). Bourne no. 1369.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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9
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The Kutub Minar, first gallery. 233 x 296 mm. Close up view of the lower section of the Kutub Hinar showing the decoration and script carved in relief. Bourne no. 1371.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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10
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Interior view of the eastern colonnade. 295 x 238 mm. View looking along the colonnade of richly carved pillars at the Kutub Mosque. Bourne no. 1374.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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11
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Ruins of the Fort of Toghlukabad. 197 x 244 mm. View looking along the massive ramparts of the fort, with the plain at the right. This view looks along the S wall of the fortress, with Adilabad in the distance to the E. The ruined causeway leading off in the right foreground is that leading to Tughlak Shah's tomb. The fortress was built by the Tughlak sultan in 1321. Bourne no. 1382.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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12
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Ruins and tombs of Old Delhi. 301 x 233 mm. View looking W from the tomb of Humayun (see QM 4/31) over the plain dotted with tombs and shrines. In the foreground are the gardens and enclosure of Humayun's tomb. |
1860–1869 |
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13
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The tomb of Mirza Jehangir. 298 x 237 mm. View of the entrance to the mausoleum of Prince Jahangir, son of Akbar Shah. The entrance is formed by a short flight of steps leading up to an elaborately carved arched doorway in marble. To either side are delicately worked pierced marble screens. Jahangir died at Allahabad and was placed in this tomb in 1832. The building forms one of a number of tombs at the shrine of Nizam-ud-din Aulia. Bourne no. 1365.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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14
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Tomb of Shums-ood-deen Altomsh, builder of the Kutub. 299 x 240 mm. View showing the interior of the mausoleum with the carved stone sarcophagus in the foreground. The surrounding walls are entirely covered with carved passages from the Koran. The red sandstone building is situated to the NW of the Kutub mosque. Bourne no. 1379.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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15
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Gate of the Taj, Agra. 294 x 237 mm. View of the Great Gateway, the main entrance to the Taj Mahal and dated 1648. The structure is of red sandstone, inlaid with ornaments and inscriptions from the Koran and surmounted by 26 white marble cupolas. Bourne no. 1074.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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16
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The Taj from the garden. 295 x 243 mm. View looking across the garden towards the mausoleum itself. Bourne no. 1076.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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17
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The Taj, from corner of quadrangle. 295 x 240 mm. View of the E facade of the Taj Mahal. Set on a 313 ft. square platform with minarets at each corner, the building and dome rise up 187 feet, with a further 30 feet added by the metal pinnacle on top of the dome. Built of white marble inlaid with precious stones, the Taj was erected by Emperor Shah Jahan on the bank of the Jumna SE of the city for his consort Arjmand Bannu (known as Mumtaz-i-Mahal) between 1630 and c. 1652. For Bourne's enraptured description of the tomb, seen soon after his arrival in India, see 'British Journal of Photography' 1 July 1863, pp. 269-270. Notwithstanding 'the difficulties of successfully developing a white object, lit up by brilliant sunshine, and surrounded by dark cypress trees, a subject like this is worth any amount of trouble, and going any distance to secure'. Bourne no. 1080.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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18
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The Fort, Ummer Sing Gate. 321 x 186 mm. View of the Ummer Sing or south gate of the fort at Agra, looking E along the walls, with the Taj Mahal visible in the right background. The red sandstone walls of the fort and the Red Palace within were constructed by the Emperor Akbar before he founded his new capital at Fatehpur Sikri in 1569. The emperor Shah Jahan, who resided at Agra from 1632-37, constructed much of the fort and most of the principal buildings contained within. The fort remained in British hands throughout the Indian Mutiny although the city and surrounding country were under rebel control. Bourne no. 1218.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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19
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The Fort, Delhi Gate. 294 x 230 mm. View from the ramparts looking S towards the Delhi Gate, situated at the western extremity of the fort. A more impressive entrance to the fort, the gateway is known as the Hathi Polar Elephant Gate and is flanked by two octagonal red sandstone towers. This entrance is in turn protected on the exterior by fortifications and battlements. Bourne no. 1219.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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20
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Interior of the Fort, Agra. 298 x 241 mm. View showing the verandah, with pillars, walls and arches of marble inlaid with polychrome decorative work, of the Saman Burj or Jasmine Tower, the residence of the chief sultana. See Y3022L/18-19. With a European figure seated in the foreground examining a pillar. Bourne no. 1224.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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21
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Quadrangle in the Motee Musjid. 318 x 193 mm. View from the SE corner of the mosque enclosure looking across the courtyard towards the 3 aisles of 7 bays of multifoil arches which lead into the mosque proper (or liwan) on the N face. The terraced roof is surmounted by a number of small pavilions and three large onion domes. Situated in the centre of the fort and built by Shah Jahan 1646-53, the exterior of the building is faced with red sandstone while the interior courts are constructed wholly of marble. In the foreground can be seen the tank in the centre of the courtyard and the octagonal sundial. Bourne no. 1227.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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22
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Front of the Motee Musjid. 297 x 240 mm. Close up view of N side of the Moti Musjid courtyard with three Europeans posed on the central flight of stairs. Bourne no. 1229.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860 |
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23
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Interior of the Motee Musjid. 293 x 242 mm. A similar composition looking W- E along the arcade of multifoil marble arches in the Liwan of the Moti Musjid. With two Indian figures posed beside a pillar in the foreground. Similar view to Y3022L/17, but looking in the opposite direction. The Musjid was used as a hospital during the Indian Mutiny. Bourne no. 1229.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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24
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Screen enclosing sarcophagi, in the interior of the Taj. 203 x 283 mm. View showing the screen of inlaid and pierced marblework surrounding the sarcophagi of Shah Jahan and Mumtaz-i-Mahal inside the Taj Mahal. The tombs themselves can be seen through the doorway in the screen although, as is usual in Indian sepulchres, the bodies themselves rest in a vault beneath plainer tombstones in the hall below. Bourne no. 1231. Duplicate at Y3022B/126.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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25
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Mausoluem of Prince Etmad Dowlah. 297 x 241 mm. View from the entrance gateway looking across the garden to the mausoleum of I'timad-ud-daula, situated on the bank of the Jumna outside the old city. The 69 ft square tomb is set on a 150 ft square platform with squat octagonal towers at each corner. The tomb was erected by Nur Jahan, the wife of Jahangir, for her father who died in 1621. It was completed in 1628. The tomb is of white marble inlaid with decorative patterns in precious stones, and is important as the earliest surviving example of 'pietra dura' work in India. Bourne no. 1232.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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26
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Marble cupola, Prince Etmad Dowlah. 287 x 241 mm. View from the corner of the roof of the tomb giving a close up view of the chamber on top of the mausoleum containing the tombs of I'timad-ud-daula and his wife. The bodies themselves are not in this highly decorated marble chamber, but rest in similar tombs in the main building itself. Bourne no. 1234.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
27
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Sheik Selim Chisit's tomb, Futtypore Sikri. 298 x 231 mm. View looking NW across the courtyard of the great mosque of Fatehpur Sikri towards the tomb of Sheikh Selim Chisti, with part of the N gateway visible at the extreme left. The tomb is a square marble building with screens formed of pierced tracery and surmounted by a dome. The deep cornices are supported by elaborately formed brackets. The building was originally of red sandstone but was later covered in marble. The city of Fatehpur Sikri was founded in 1569 by the Emperor Akbar in honour of the Mahamrnedan saint Selim Chisti, who had foretold the birth of his son. (later the Emperor Jahangir). Selim Chisti died in 1571. Bourne no. 1265.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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28
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Marble screen, Sheik Selim Chisit's tomb. 297 x 241 mm. Close up of a section of marble screen on the exterior of Sheik Selim Chisti's mausoleum at Fatehpur Sikri. Bourne no. 1266.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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29
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View of the ruins. 297 x 232 mm. View looking SW across the ruins of the city towards the Buland Darwazah (Gate of Victory), the S gateway into the mosque precinct (see QM 4/55). The view appears to be taken from the top of the Diwan-i-Khas or Private Audience Hall, and shows the Panch Mahal or Five Storey Palace (at left of print, with the open space of the 'Pachisi' court in front) and the domes of the Rajah Birbali's house (right background). Fatehpur Sikri did not remain the imperial capital for any great length of time; less than twenty years after its foundation, in 1685, lack of a reliable water supply forced Akbar to shift his capital to Lahore. Bourne no. 1227.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
30
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General view, Benares. 320 x 195 mm. View from the right bank of the Ganges looking NW across the river towards the city. The most prominent building is the Mosque of Aurangzeb known as the Minarets, which can be seen at the right. To the left of centre is the Ghusla Ghat, with the Manikarnika Ghat at the extreme left. A number of Indians are posed with cattle in the foreground. Bourne no. 1165.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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31
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The great mosque of Aurunzebe and adjoining ghats. 297 x 235 mm. Similar view to Y3022L/65, looking E along the riverbank towards the Mosque of Aurangzeb, but taken from a greater distance and showing the Ram Ghat in the foreground. Bourne no. 1168.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
32
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'Vishnu Pud' and other temples near the Burning Ghat. 296 x 242 mm. View looking W along the river bank with the spires of the temples at the Manikarnika Ghat in the foreground. Bourne no. 1170.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
33
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'Gyan Bapee' or Well of Knowledge. 235 x 290 mm. View showing the carved pillars of the interior of the Gyan Bapee (or Jnanavapi), the well of knowledge. This sacred well is set in an arcade (built in 1828) behind the Vishveshvara Temple. Bourne no. 1173. Duplicate at Y3022B/134.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
34
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Railway bridge across the Jumna, Allahabad. 324 x 184 mm. View from one side looking along the railway bridge over the Jumna south of the city. The bridge is of girder construction resting on masonry piers. Bourne no. 1200.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
35
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The Memorial Well, Cawnpore. 300 x 244 mm. View looking across the Memorial Gardens towards the screen which surrounds the Memorial Well. Bourne no. 1205.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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36
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The Memorial Well, statue by Marochetti. 292 x 244 mm. View of the marble angel by Carlo Marochetti which stands over the Memorial Well. Duplicate at Y3022B/123. Bourne no. 1206.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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37
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The mausoleum of Akbar, the upper marble sarcophagus, Secundra. 294 x 233 mm. View showing the open upper storey of Akbar's tomb at Sikandra, five miles NW of Agra. An arched colonnade runs round the perimeter of the terrace, backed by screens of marble trellis work. The tomb itself stands on a platform in the centre of the courtyard (the actual body, following normal practice, being contained in a plainer tomb in a vaulted chamber in the basement). Bourne no. 1252.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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38
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The principle gate of the Fort, Bhurtpore. 290 x 234 mm. View looking along the moat towards the S entrance to the Fort. A bridge over pointed arches crosses the moat to the archway which is flanked by two massive bastions. Bourne no. 1299.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
39
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The Fort, Deig. 299 x 236 mm. View of the fort from the NW, looking across the moat towards the row of massive bastions. Bourne no. 1315.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
40
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The Fort, the Palace and Principal Entrance. 297 x 240 mm. View from the Hathiya Paur (elephant) gate looking N along the NE side of the fortress at Gwalior. In the centre of the print is the road which leads up to the hill fortress from the plain below, with the outer walls of the Man Mandir Palace with its five domed towers in the left foreground and the Jahangiri Mahal beyond. Duplicate at Y30221/83. Bourne no. 1326.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
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41
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The Happy Valley, Gwalior. 297 x 242 mm. Showing the massive stone figures carved from the rock face of the Urwahi Ravine of the W side of Gwalior ridge. These rock sculptures were made in the 15th century, mutilated on the orders of the Emperor Babar some sixty years later and subsequently repaired with coloured stucco by the Jains. Bourne no. 1328A.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
42
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Ancient Brahminical temple in the Fort, carved pillars, &c. 294 x 234 mm. View of the interior of the Sas-Bahu temple, situated on an E outcrop at the centre of the ridge, and showing a group of pillars carved in decorative swirling forms, with more naturalistic sculptures near the base. The group of the temples date from around the end of the 11th century. . Bourne no. 1332.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1860–1869 |
|
43
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Oriental Bank, Watson's Hotel, &c. 322 x 177 mm. View looking S along Rampart Road, with Meadow Street going off to the left. The Oriental Bank stands at the junction of the two streets. Watson's Esplanade Hotel, erected in 1867 and the first iron-framed building in Bombay, stands in the background at the far end of Rampart Road. |
1872 |
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44
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General view of the great cave of Elephanta from entrance. 295 x 236 mm. |
1872 |
|
45
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Colossal figures on the Linga Chapel. 296 x 234 mm. View inside the caves showing the exterior of the Linga Chapel, with massive carved figures standing on either side of the doorways. |
1872 |
|
46
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The Queen's statue. 288 x 238 mm. View of the fine canopied statue by Noble, unveiled in 1872, with a group of Parsis standing in the foregound. A photograph taken shortly after the unveiling. Unsigned but numbered 2222. |
1872 |
|
47
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The Reversing Station, Bhore Ghat Railway Incline. 217 x 192 mm. View looking along the track towards the reversing station on the Bhore Ghat Incline on the Bombay Poona line. The great natural obstacle of the Western Ghats, rising to over 2000 ft., was a major problem in linking Bombay with the rest of India by rail, and work on the line (which in places had a gradient of 1:37) employed an average labour force of 30-40,000 people, with a mortality rate of some 30%. The first section of the Great Indian Peninsular Railway, from Bombay to Thana, was officially opened in April 1853, but it was to be another ten years before the line was built over the Ghats and on to Poona. Of this, the incline, rising 1821 ft. in the 16 miles of its length, occupied 7 years, 6 months. The task of designing the line fell to James Berkley (1819-1862), a former pupil of Robert Stephenson and Chief Resident Engineer of the GIPR from 1850-58. In the print, the line at the right ascends from Karjat. The train then proceeds to the sidings in the background and continues the ascent by reversing up the middle track. The track on the left is a catch siding for descending trains; this safety measure did not however prevent 14 deaths in January 1869, after a brake failure caused the Poona to Bombay mail train to crash over the edge. In the left background can be seen the rocky outcrop known as the Duke's Nose. |
1872 |
|
48
|
[Officers of H.M.'s 93rd Highland Regiment, Sialkot]. 291 x 240 mm. Group portrait of officers of the 93rd Regiment posed with their rifles amongst a 'large array of hunting trophies including antelope horns, bear skins and leopard skins'. Bourne mentions travelling to Sialkot to photograph this group at this end of his nine month trip to Kashmir in 1864 (B.J.P. 8 February 1866, p. 474).
Creator: Bourne, Samuel, 1834-1912, photographer. |
1864 |
|
49
|
Group of Kashmir females. 291 x 218 mm. Group portrait of Kashmiri women seated on a carpet in a court yard. This is almost certainly the group Bourne had such difficulty posing during his 1864 expedition, 'By no amount of talking and acting could I get them to stand or sit in any easy, natural attitude ... The English Commissioner at Srinnugur ... gave an order to have a number of the best looking girls collected, of whom I was to take a group. They were very shy at making their appearance in daylight, as, like the owl, they are birds of night. They came decked out in all their rings and jewellery, and all their silk holiday attire; but, on taking a cursory glance at them when they were all assembled, with the exception of two or three, one could not help coming to the conclusion that if these were the prettiest, the rest must be miserably ugly. Much to my annoyance, a number of gentlemen had assembled "to see the fun", and their presence by no means added to the composure of my fair sitters. They squatted themselves down on the carpet which had been provided for them, and absolutely refused to move an inch for any purpose of posing; so, after trying in vain to get them into something like order, I was obliged to take them as they were, the picture, of course, being far from a good one' (B.J.P., 25 January 1867, p. 39). Bourne no. 809.
Creator: Bourne, Samuel, 1834-1912, photographer. |
1864 |
|
50
|
Group of Afredees from the Khyber Pass. 295 x 210 mm. Group portrait of four Afridi warriors with their flintlock muskets, known as jezails, posed on the mud ramparts of a fort. A heavily reworked rendering of this print, entitled 'Mountaineers in action', is reproduced as an engraving in Louis Rousselet, 'India and its native princes' (London 1867 edn.) p. 506. Shepherd no. 1387.
Creator: Shepherd, Charles, fl 1858-1878, photographer. |
1860–1865 |
|
51
|
Group of thugs. 291 x 215 mm. Group portrait of seven Thugs seated cross-legged on a woven carpet. The inclusion of the carpet in the photograph, and the age of the sitters, makes it appear likely that this photograph was taken at the Jubbulpor School of Industry. This institution was founded by (Sir) William Henry Sleeman (1788-1856) to give employment to ex-Thugs and their dependents and, amongst other productions, was noted for the excellence of its carpets. The practice of ritual murder and robbery known as thugee, endemic in India for hundreds of years although largely ignored in the early years of the East India Company's administration, was brought to public attention by William Sleeman who, as General Superintendent for the Suppression of Thugee in the 1830s and 40s, was largely responsible for the stamping out of the practice. Sleeman's own writings, particularly 'Rambles and recollections of an Indian official' (1844) and 'Illustrations of the history and practices of the Thugs' (1837), give a detailed account of the campaign. General histories include A.J. Wightman, 'No friend for travellers' (1959) and George Bruce, 'The stranglers' (1868). The former includes a portrait of the same figures seen in this print, evidently photographed on the same occasion but in a different pose. Possibly by Charles Shepherd, no. 128. |
1860–1865 |
|
52
|
[H.M.'s 93rd Regiment at Sialkot, 1864]. 293 x 225 mm. Tentative caption taken from the Bourne and Shepherd catalogue. |
1864 |
|
53
|
A group of H.E. the Viceroy's elephants with their state trappings. 290 x 228 mm. Photograph, probably taken at Barrackpore (see Y3022E/15), showing a group of five elephants with mahouts, howdahs and decorative trappings (jhools) of scarlet cloth edged with gold. A large stud of elephants was housed in the park at Barrackpore for the use of the Governor General and for the amusement of his guests. The number of animals decreased over the years, until by the time of Lord Elgin's arrival in India in 1893 only one animal survived. It was therefore decided to abolish altogether the hatikhana and in January 1895 the howdah and equipment, with the exception of the State Howdah and ten shooting howdahs, were sold by auction. The State Howdah, which can be seen on the back of the third elephant from the left, and which was ridden in by amongst others the Prince of Wales in 1875-76, Lord Lytton at the Imperial Assemblage at Delhi in 1877, and Lord and Lady Curzon at the Delhi Durbar of 1903, was transferred to the Vice Regal Lodge at Simla. Unsigned and unnumbered but possibly Bourne no. 1132D. Duplicates at Y3022B/100 and Y3022G/80. |
1860–1869 |
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