A group of twenty-eight watercolours of tradespeople, servants, bearers and other figures, some inspired by works by John Gantz and Balthazar Solvyns Company School, South India, circa 1830-40watercolours on watermarked paper, removed from the original album and laid down on to modern card, original handwritten English inscriptions also excised and laid down on the same card, loosely tipped into modern album the smallest 120 x 90 mm.; the largest 200 x 285 mm.; original album 287 x 230 mm.; modern album 29.5 x 38 cm.FootnotesProvenance From an album formerly in the collection of Lord Bath, Longleat (two paintings bear the impressed seal marks BATH/THYNNE, and an image of a crown (nos. 6 and 11 below). Private UK collection. The subjects of the paintings are as follows: 1. Basket makers (watermark J Green & Son 1832). 2. A carriage drawn by bullocks (watermark J Green & Son 1832). 3. Bhishtis, 'or water carriers, who sell that article' (watermark J Green & Son 1832). 4. The state carriage of the Rajah of Tanjore, drawn by elephants. 5. A Parsee, 'an intelligent class of native, chiefly devoted to commerce. They were originally from Persia, and are fire-worshippers'. 6. Toddy-wallahs, 'or men who climb Coca-nut trees to obtain the juice therefrom called Toddy when slightly fermented'. 7. The fort on the rock at Trichinopoly. 8. A fakir: 'A wretched fanatic, who has taken a vow that he will never remove his arm from its present position. Taken from nature'. 9. A hookah bearer, 'a native servant whose exclusive duty is to attend to his master's hookah' (watermarked Whatman/Turkey Mill). 10. Palanquin bearers 'in the act of travelling'. 11. 'Natives halting with their bullock carts, under a Banyan tree, to take their meal'. 12. Two men with a large pestle and mortar, turned by oxen, 'mode of expressing oil from coca-nuts'. 13. Men drawing water from tanks: 'A tank, or reservoir of water, with mode of drawing the latter from it. These tanks are used for irrigation' (watermark J Green & Son 1832). 14. A sepoy. 15. A mendicant, or perhaps a seller of cloth (no inscription). 16. A moonshee, 'or native teacher of languages', holding a book (watermark J Green & Son 1832). 17. A sepoy cavalry trooper, on his mount. 18. An Indian officer on horseback, 'not of the Company's service'. 19. A Moty-boy [?], 'a native servant in the act of waiting at dinner'. 20. A moonshee, seated in a chair with a book (watermark J Green & Son 1832). 21. An Indian merchant, perhaps a seller of cloth, or beads (no inscription). 22. 'A Peon, or Native Constable' (watermark J Green & Son 1832). 23. A fakir, holding a staff and begging cup. 24. 'A palanquin-bearer, fanning his master with a hand-punkah' (watermark J Green & Son 1832). 25. A tailor. 26. A seller of linen [?] 27. A private of sepoys, carrying a rifle. 28. A havildar, a sergeant of sepoys (watermark J Green & Son, date obscure). A fine group of varied figures studies by an Indian artist, several of them directly inspired by two European artists working in India: John Gantz and Balthazar Solvyns Two in particular are almost exact copies after Solvyns: the hookah-bearer (9), and perhaps the seated tailor (25). Several are strongly reminiscent of scenes from John Gantz's Indian Microcosm, a volume of seventeen plates (coloured lithographs) of 1827 (basket-makers; carriage drawn by bullocks; bhishtis; the fort at Trichinopoly; carts under a banyan tree; pestle and mortar with coca-nuts; men drawing water from a tank; and the toddy-wallahs [?]). A larger group of paintings, with strikingly 'free and impressionistic' brushwork, seems to derive from a type tentatively attributed by Losty perhaps to Madras (though he admits there is nothing definite in this attribution), circa 1840-50. These are: the Parsee; the 'fanatic' fakir; the mendicant/seller of cloth; the moonshee; the moty-boy; the seated moonshee; the merchant (21); the Peon; the fakir holding a staff; and the bearer with a hand-punkah. This last
A group of twenty-eight watercolours of tradespeople, servants, bearers and other figures, some inspired by works by John Gantz and Balthazar Solvyns Company School, South India, circa 1830-40watercolours on watermarked paper, removed from the original album and laid down on to modern card, original handwritten English inscriptions also excised and laid down on the same card, loosely tipped into modern album the smallest 120 x 90 mm.; the largest 200 x 285 mm.; original album 287 x 230 mm.; modern album 29.5 x 38 cm.FootnotesProvenance From an album formerly in the collection of Lord Bath, Longleat (two paintings bear the impressed seal marks BATH/THYNNE, and an image of a crown (nos. 6 and 11 below). Private UK collection. The subjects of the paintings are as follows: 1. Basket makers (watermark J Green & Son 1832). 2. A carriage drawn by bullocks (watermark J Green & Son 1832). 3. Bhishtis, 'or water carriers, who sell that article' (watermark J Green & Son 1832). 4. The state carriage of the Rajah of Tanjore, drawn by elephants. 5. A Parsee, 'an intelligent class of native, chiefly devoted to commerce. They were originally from Persia, and are fire-worshippers'. 6. Toddy-wallahs, 'or men who climb Coca-nut trees to obtain the juice therefrom called Toddy when slightly fermented'. 7. The fort on the rock at Trichinopoly. 8. A fakir: 'A wretched fanatic, who has taken a vow that he will never remove his arm from its present position. Taken from nature'. 9. A hookah bearer, 'a native servant whose exclusive duty is to attend to his master's hookah' (watermarked Whatman/Turkey Mill). 10. Palanquin bearers 'in the act of travelling'. 11. 'Natives halting with their bullock carts, under a Banyan tree, to take their meal'. 12. Two men with a large pestle and mortar, turned by oxen, 'mode of expressing oil from coca-nuts'. 13. Men drawing water from tanks: 'A tank, or reservoir of water, with mode of drawing the latter from it. These tanks are used for irrigation' (watermark J Green & Son 1832). 14. A sepoy. 15. A mendicant, or perhaps a seller of cloth (no inscription). 16. A moonshee, 'or native teacher of languages', holding a book (watermark J Green & Son 1832). 17. A sepoy cavalry trooper, on his mount. 18. An Indian officer on horseback, 'not of the Company's service'. 19. A Moty-boy [?], 'a native servant in the act of waiting at dinner'. 20. A moonshee, seated in a chair with a book (watermark J Green & Son 1832). 21. An Indian merchant, perhaps a seller of cloth, or beads (no inscription). 22. 'A Peon, or Native Constable' (watermark J Green & Son 1832). 23. A fakir, holding a staff and begging cup. 24. 'A palanquin-bearer, fanning his master with a hand-punkah' (watermark J Green & Son 1832). 25. A tailor. 26. A seller of linen [?] 27. A private of sepoys, carrying a rifle. 28. A havildar, a sergeant of sepoys (watermark J Green & Son, date obscure). A fine group of varied figures studies by an Indian artist, several of them directly inspired by two European artists working in India: John Gantz and Balthazar Solvyns Two in particular are almost exact copies after Solvyns: the hookah-bearer (9), and perhaps the seated tailor (25). Several are strongly reminiscent of scenes from John Gantz's Indian Microcosm, a volume of seventeen plates (coloured lithographs) of 1827 (basket-makers; carriage drawn by bullocks; bhishtis; the fort at Trichinopoly; carts under a banyan tree; pestle and mortar with coca-nuts; men drawing water from a tank; and the toddy-wallahs [?]). A larger group of paintings, with strikingly 'free and impressionistic' brushwork, seems to derive from a type tentatively attributed by Losty perhaps to Madras (though he admits there is nothing definite in this attribution), circa 1840-50. These are: the Parsee; the 'fanatic' fakir; the mendicant/seller of cloth; the moonshee; the moty-boy; the seated moonshee; the merchant (21); the Peon; the fakir holding a staff; and the bearer with a hand-punkah. This last
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