Thomas Daniell, RA, British 1749-1840- Ramnugur, near Benares, on the River Ganges; hand-coloured aquatint, engraved by Thomas Daniell, published by Robert Bowyer at the Historic Gallery, Pall Mall, 1796, 44.5 x 59.7 cm. Provenance: Private Collection, UK.
AFTER THOMAS DANIELL (BRITISH 1749 - 1840) THE CHAKEES SAROON IN THE FORT OF ALLAHABAD; LUKNOW TAKEN FROM THE OPPOSITE BANK Aquatints, a pair Each 50 x 68.5cm (19½ x 26¾ in.) (2)
THOMAS DANIELL R.A. (BRITISH 1749-1840)VIEW IN THE KOAH NULLAHOil on canvas58 x 45cm (22¾ x 17½ in.)In August 1788, Thomas Daniell began to plan a tour up-country, passing through Cawnpore, and then on to Agra and Delhi, before heading further north to Amroha and Najibabad. The rocky valley of the Khoh river, that leads into the Garhwal hills, was the route that the Daniells followed on the final outbound leg of their journey from Kotdwara to Srinagar in April 1789. Parts of the journey were perilous because of the difficult roads, and much of the terrain was unknown to the British. The Daniels were in fact the first Europeans ever to visit Garhwal. They wrote: 'We all four were carried in our jampans [hill palanquins] by four bearers to each who seemed to take us with the greatest ease.' (Archer, p.86) However, it was often too steep to use their palanquins and they had to climb up the rocky watercourse.Described by the pair, 'The Koah Nullah [Khoh River] is a mountain stream that in the season of rain must be a furious torrent, but in the month of April was a delightful rivulet, that, sparkling in the sun, gave animation and beauty to the rude scenes through which it pursued its course' (Oriental Scenery, Part 4, Plate 15).The enthusiasm for sparkling streams was apparently not shared by the Daniells' remaining Bengali servants who, as well as being hostile to the wheat eaten in this region, these lowlanders were also prejudiced against 'beautiful transparent water' flowing in the hills: their stagnant reservoirs, and even the turbid waters of the Hooghly at Calcutta, appeared to them much more inviting' (Archer, p.87).In the autumn of 1791, the pair of artists arrived back at Calcutta, having travelled many miles since their departure in August 1788. Their arrival was noted by William Baillie, who informed Ozias Humphry (November 3rd, 1793) that 'Mr. Thomas Daniell returned to Calcutta with a collection of about 150 pictures.' On the 5th January 1792, the Calcutta Gazette announced a 'Lottery of pictures painted during the extended tour'. (Sutton, p.66-67) One hundred and fifty pictures and paintings were exhibited at the Old Harmonic Tavern, with the draw taking place on March 1st. Although no catalogue of this lottery survives, it is likely that the present, unrecorded, lot, was one of the hundred and fifty works produced for this financial venture. If this is the case, we can date the work to circa 1790-1791 when the Daniells were working on pictures for the Calcutta Lottery. Much of the works produced by the Daniells during their time in India include buildings or ruins; both a reflection of their own artistic ideals, and of the idea that India itself was the scene of ancient civilisations. However, the foothills of the Himalayas presented the pair with the opportunity to paint pure landscapes. The present lot is not completely free of buildings, but the humble dwelling at its centre is quickly dwarfed and overshadowed by the sublime rugged mountains and spirited waters which surround it. A watercolour sold at Christie's, London, The P&O Collection of Watercolours of India by Thomas and William Daniell, 24 September 1996, lot 62, entitled The Khoh River, near Diosa, Garhwal, Uttar Pradesh (Oriental Scenery vol. IV, engraving No.18) appears to offer a similar view to the present lot but from a vantage point further down the Khoh River, omitting the house, but with the same mountain range easily identifiable. In addition, the artist depicted the same view in one of a pair of drawings entitled Old Lungoor Ghur: Near Nytana, Srinagar Mountains (Sale, Christie's London 29th October 2019, lot 91).A comparable oil painting, The Koh Valley in Garhwal, Northern India, was sold at Bonhams Travel and Topographical Pictures auction on 10 May 2005, lot 67. We are grateful to Charles Greig for his assistance in preparing this catalogue entry.
THOMAS DANIELL R.A. (BRITISH 1749-1840) COLGONG inscribed in pen and brown ink N. 81 (crossed out) Colgong verso watercolour over pencil on laid paper 28.5 x 40cm; 11 x 15 3/4in unframed
Thomas Daniell RA (1749-1840) and William Daniell RA (1769-1837) Tremal Naig's Choultry, Madura, 1798; and A Minar At Gour (Ancient Capital of Bengal), 1808 plates XVIII and XXIII from Oriental Scenery (Abbey Travel, nos. 44 & 74) hand-coloured aquatints, unframed 74 x 54cm (2) Unframed. Unmounted. Minar - bottom right corner damaged. Minor scattered spotting. Colours are good. No watermarks visible. Tremal Naig's Choultry - Light crease and wear to corners. Light staining to edges. Colours good. Text slightly faded. 74 x 54cm sheet size.
CIRCA 1786-88 hand-coloured aquatints, each cut down to the image and mounted on backing paper, including Plate 2 'The Old Court House and Writers' Buildings'; Plate 3 ‘Part of the Old Tank’; Plate 5 ‘The New Court House and Chandpal Ghaut’; Plate 6 ‘The Old Fort Ghaut’; and Plate 11 ‘The Old Government House’, all framed in matching ebonised and gilt frames; together with three loose Daniell plates from the series ‘Oriental Scenery: Twenty Four Views in Hindoostan’ including; Plate XIV ‘Ramnagar, Near Benares, On the River Ganges’, London 1796; Plate XVIII ‘The Taje Mahel, At Agra’, London 1796; Plate XXI ‘View in the Fort of Trichinopoly’, London 1798 (8) Provenance: The Estate of the late Lynette F. H. Cole, Rutherford House, Town Yetholm, Scottish Borders 55.5cm high, 67.5cm wide (including frames) Note: In 1784 Thomas Daniel obtained permission from the East India Company to travel to India to work as an engraver, assisted by his nephew William. The pair reached Calcutta in 1786 and soon began to issue the first topographical prints of the colonial capital. Twelve etched and aquatinted “Views of Calcutta” were completed by 1788, printed and hand-colored by Indian assistants. The images proved immensely popular in India and Europe, and helped to launch a vogue for Indian ornament and design in Britain. All five cut down plates - Image 40.5cm x 53cm All three loose plates - 52cm x 70cm
THOMAS DANIELL (UK, 1749-1840) "View of Mutura, on the River Jumna", offset photo lithograph originally by Thos & Wm Daniell, published by Thos. Daniell, R.A., London, April 1, 1803. In later black reverse ogee frame with white matt and faux ivory panel liner rimmed by gilt beading, under glass, OS: 32" x 38", SS: 19 1/2" x 25 1/2", loss to frame corners.
[INDIAN SCENES] Six color reproduction prints (two duplicates), from Oriental Scenery: Twenty-Four Views in Hindoostan, framed. Images 19 7/8 x 25 3/4 inches; 505 x 654 mm. Frames 27 x 33 inches; 686 x 838 mm. In apparently good condition (some unobtrusive discoloration appears to have been on the prints prior to being reproduced), unexamined out of the frames.
THOMAS DANIELL (BRITISH 1749-1840) AND WILLIAM DANIELL (BRITISH 1769-1837)DUSASUMADE GAUT, BERNARES, UTTAR PRADESHWatercolour and pencil, with watermark 'J WHITMAN'Inscribed with title (to the mount); further inscribed and numbered '52' (verso)37 x 54cm (14½ x 21¼ in.)Provenance:The collection of the artistThe Bromley-Davenport family, Capesthorne Hall, CheshireThence by descent until 1951The Peninsular and Oriental Steam Navigation Company (P&O) 1952 - 1996Sale, Christie's, London, India Observed, 24 September 1996, lot 22Spink, London, No. K3 11110A Private CollectionExhibited:London, Commonwealth Institute, 1960, No. 21Washington D.C, Smithsonian Institute, 1962, No. 9London, Spink and Son, 1974, No. 41Literature:Archer, M, Early Views of India: The Picturesque Journeys of Thomas and William Daniell 1786 - 1794, Thames and Hudson, 1980, p. 123, ill. No. 71 (aquatint engraving for Part I, Oriental Scenery, No.16) Engraved:T. Daniell, aquatint engraving, May 1796, for Oriental Scenery, vol.I, No. 16The Dasasamadhi Ghat is one of the five most celebrated places of pilgrimage in Bernares, and is where Brahma was said to have sacrificed ten horses. On 22 August 1812, Lady Nugent said of Bernares: 'The city is situated on a high semicircular bank and reaches down to the water's edge. Mosques, pagodas, temples, houses of different sorts - long flights of steps, leading to places of worship - the river, magnificently extended...nothing can be more striking and imposing than the first view of Bernares'. (Archer, p. 123)The series of aquatints of India were published by Thomas and William Daniell between 1795 and 1810. At the time, the aquatint technique was very new in Britain, being introduced by Paul Sandy in 1775. These prints were engraved by the Daniells themselves from their own drawings and watercolours. The present lot is one of the watercolour sketches for number sixteen in Part I of the Oriental Scenery series. In her book, Mildred Archer arranges the illustrations produced by the Daniells in order of their journey, rather than the order in which the aquatints were eventually published, often accompanied by unpublished quotes taken from the small octavo booklets of comments which Thomas Daniell issued with each part of Oriental Scenery. This places the creation of Dusasumade Gaut at circa 17-25 November 1789. Thomas Daniell (1749-1840) was William's (1769 - 1837) uncle. After his father's death Wiliam's mother was left with five children and the burden of running the family pub, which had previously belonged to Thomas's father before passing to his brother. It is thought that Thomas took over responsibility for his nephew to help ease the pressures placed on his sister-in-law.In 1784, when the pair left for India, they were relatively unknown. William was barely fifteen when the pair set sail, and despite having some success in London, in 1773 Thomas had entered the Royal Academy schools, exhibiting thirty pictures over the next decade or so, William had yet to decide what type of painter he should be. When in 1781 he secured a commission for six paintings of West Wycombe Park, and went on to paint the landscapes of Somerset, Yorkshire, and Oxfordshire over the course of the following three years, he seems to have settled on landscapes. However, opportunities for landscape painters were few. As a result, most British artists focused on portraiture with Reynolds and Gainsborough as the leading names. Fueled by the voyages of Captain Cook, it was also around this time that a general interest in the 'exotic', ''picturesque' and the 'sublime' was starting to creep in to British culture. A perfect backdrop then, for the Daniells to explore the opportunities on offer in this exciting new area of the world.During this time, the East India Company had grown substantially and held increasing power in large areas of the British controlled subcontinent. As such, it was possible for English artists to travel freely, and rely on hospitality from fellow countrymen. In addition, many wealthy residents of the Presidency cities of Calcutta and Madras needed pictures to furnish their large mansions, with several artistic fortunes being made in India. As was the case in Britain, of the well-established artists already working in India during the last quarter of the 18th century, those such as Tilly Kettle, George Chinnery, Ozias Humphry, John Zoffany, and George Wilson almost all enjoyed their success by focusing on portraits. However, more interesting to Daniells was the landscape painter William Hodges (1744-97), who visited India between 1780 and 1783 and received the patronage of Augustus Cleveland, the District Officer of Bhagalpur. Upon arriving in India, on 17 July 1786, Thomas placed an announcement in the Calcutta Chronical: 'Mr Daniell proposes to publish twelve views of Calcutta at twelve gold Mohurs the set, from complete plates and finished watercolours. The subscription list is open till Jan. 1, 1787'. Upon completing these twelve views, in 1788, the Daniells then travelled north to Sringar, taking in various stops, including at Bengal, Buxar, and Delhi, but without stopping at Benares. They journeyed up the country until April 1789, when in May of the same year they began their return journey. With less constraints due to hot weather, the Daniells were able to linger longer in areas which they had been forced to skip on their outward journey, and it was during this stage of their travels that the present lot was painted in Benares. They stayed here for around one week, and during this time witnessed an eclipse of the sun. After returning to Calcutta in November 1791, the Daniells then headed south between March 1792 and February 1793, before spending a further six months travelling west before starting their journey home in 1794. By the time the Daniells returned to England in September 1794, they had been away for almost ten years and had completed hundreds of drawings and watercolours, many of which had been carefully annotated with names, places, and dates. These were used to create two series of twenty-four aquatints entitled Oriental Scenery: Twenty Four Views in Hindoostan. The first series, of which this lot is a sketch for plate 16, was published in England and Calcutta between March 1795 and January 1797, was dedicated to the Honourable Court of Directors of the East India Company. The second series was published between August 1797 and December 1798, dedicated to the Right Honourable Henry Dundas, President of the Board of Commissioners for the Affairs of India. In addition, Thomas Daniell exhibited twelve, and William Daniell six, oils at the Royal Academy between 1795 and 1798. The pair went on to create further sets of aquatints well into the early 19th century. For all their engravings, Thomas and William prepared all the plates themselves using sepia, grey and bluish grey, instead of the reddish-brown ink typically used in printing. In doing so, they were able to reproduce the original watercolours exactly.There can be no doubt that William and Thomas Daniell were pioneers, both in the way they mastered the aquatinting technique in Britian, but also in their dedication to exploring, detailing, and depicting in meticulous detail the Indian landscape. This in turn contributed to a greater knowledge of India, and at the same time popularized the Indian style which could be seen throughout the 19th century from wallpaper design, ceramic decoration and even architecture. For a condition report on this lot, please contact our Picture department directly, at pictures@dreweatts.com.
THOMAS DANIELL (1749-1840), 'EASTERN GATE OF THE JUMMAH MUSJID AT DELHI' hand coloured acquatint from 'Oriental Scenery I', engraved by Thomas Daniell, published by Robert Bowyer, March 1795, framed, 43 x 60cm (image) This is probably one of the best known Daniell images. The Jami Masjid in Delhi is not only one of the most important sites in the city, but also one of the greatest Mughal monuments in the subcontinent. Daniell wrote: 'The materials are of reddish stone, brought from the neighbouring Mewat hills, and white Cashmerian marble. The spires on the small domes are gilt. The folding doors are overed with brass, very neatly ornamented with a regular design in basso relievo. The whole is of excellent workmanship.' (Archer 1980, no.36).
THOMAS DANIELL (1749-1840), 'THE TAJE MAHEL, AT AGRA' hand coloured acquatint from 'Oriental Scenery I', engraved by Thomas Daniell, published by Robert Bowyer, July 1796, framed, 43 x 60cm (image) Daniell wrote about this scene: 'The Gate is of red stone and white marble, elegantly ornamented. The Spandrels over the arches are decorated with folliage of various coloured stones inlaid' (Archer 1980, no.27). Evidently, as Mildred Archer suggests, he received some criticism for focusing on the gate, rather than the famous tomb itself. He made up for this by publishing two prints of the tomb in 1801.
THOMAS DANIELL (1749-1840), 'GOVINDA RAM MITTEE'S PAGODA, CALCUTTA' hand coloured acquatint from 'Oriental Scenery II', engraved by Thomas and William Daniell, published by Thomas Daniell, August 1798, framed, 42.2 x 60cm (image) Govinda Ram Mittee was a Hindu merchant, and the building was described by Daniell as 'modern' at the time of his visit and never completely finished. See Archer 1980, no.97, pp.139-140.
THOMAS DANIELL (BRITISH 1749-1840), VIEW ON THE CHITPORE ROAD, CALCUTTA hand coloured acquatint from 'Oriental Scenery II', engraved by Thomas and William Daniell, published by Thomas Daniell, August 1797, framed, 42.5 x 60cm (image) Thomas Daniell wrote of this scene: 'In this view on the Chitpore road (taken in the Monsoon season) appears the house of a native Bengal merchant: the style of architecture is Mohommedan, except in the turret, which is an unsuccessful attempt at the Grecian...Part of a Bazar, or market, is seen, and a small Hindoo temple of modern construction' (Archer 1980, p.139-140, no.98. For another example of this image, from the Peter Millett Collection, sold in these rooms, see Wednesday 9th November 2022, lot 327.
THOMAS DANIELL (1749-1840), 'PART OF CHERINGHEE, CALCUTTA' hand coloured acquatint from 'Oriental Scenery II', engraved by Thomas and Wiliam Daniell, published by Thomas Daniell, August 1798, framed, 42.2 x 60cm (image) Chowringhee is the grandest thoroughfare in the city of Calcutta (now Kolkata) lining the east side of the Esplanade (or Maidan). Daniell wrote: 'The houses, which are of brick, stuccoed, and afterwards coloured, are inhabirted by opulent English gentlemen, and are well constructed to counteract, as much as possible, the inconveniences of so hot a climate.' (Archer 1980, no.96)
Daniell (Thomas) and William Daniell. Entrance to a Hindoo Temple, near Bangalore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1817', platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 69], published by the artist, 1808 or slightly later. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 102.
Daniell (Thomas) and William Daniell. View Near Bangalore, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 68], published by the artist, 1808. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 101.
Daniell (Thomas) The Great Pagoda, Tanjore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 535 x 740 mm (21 7/8 x 29 1/8 in), minor handling creases and small repaired nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 50], published by the artist, 1798. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 125. *** September 1792. 'The Brihadisvara or Rajarajesvara Temple, which stands within a walled compound, was built about AD 1000. The tall pyramidal tower of the main shrine is covered with intricate sculpture and is topped by a massive domical capstone. [Archer, op. cit.]
Daniell (Thomas) and William Daniell. The Punj Mahalla Gate, Lucknow, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 485 x 660 mm (19 x 26 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), handling creases, minor surface dirt, unframed, [Abbey 420], published by the artist, 1801 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 62. *** July-October 1789. 'The plainness and simplicity of this edifice is more striking than the richness of its decorations; a circumstances seldom occurring in gateways belonging to Mahomedan princes. This gate leads to a palace erected by Nawaub Sujah ul Dowla'. [Archer, op. cit.]
This historic view of India is from Thomas and William Daniell's Oriental Scenery. The work was published between 1812 and 1816 in London for the authors at the Free-School Press by William Daniell and Longman, Hurts, Rees, Orme and Brown. This is the scarce quarto edition of one of the greatest pictorial records of India. The Daniells reduced their large folio plates for this edition in order to have their views of India reach a wider audience. "The Daniells left England in 1785, when William was only about sixteen, and they were back in England in September 1794. From an early stage Thomas seems to have set out to emulate and surpass Hodges (Select Views in India) in popularizing his views through the comparatively new medium of aquatint. The uncle and nephew were determined not only to do better than Hodges but to expose the weaknesses of the pioneer's work by choosing the same views as Hodges had done, drawing them more accurately, and aquatinting them more skilfully" (Abbey Scenery II, p.377).
THOMAS DANIELL R.A (BRITISH 1749-1840)THE SHORE TEMPLE, MAHABALIPURAMOil on mahogany panel Inscribed 'A Hindoo Temple at Mauveleporam - on the Coast of Coromandel in East Indies' (to inscription on the verso) 38 x 54cm (14¾ x 21¼ in.)Literature: Maurice Shellim, India and the Daniells, London, Inchcape & Co, 1979, p. 49, as TD 30, reproducedExhibited: London, Eyre & Hobhouse Ltd, Twelve Oil paintings by Thomas Daniell, R.A. (1794-1840), 17th November - 4th December,1981. No.10 As a panel-painting virtually unique in his reordered work, the present lot was almost certainly painted in 1793 while the artist was at Madras. William Daniell published an engraving of the Shore Temple clearly taken from the same subject in Oriental Annual of 1834. The accompanying text mentions that the temple 'is of compact and beautiful stone-work, and stands upon a rock jutting from the land into the sea, it is a remnant, such at least in the oral tradition of the place, of an ancient city, which has been overthrown by the constantly encroaching waters, and of which this structure alone remains entire'. Provenance:Private collection, since circa 1960
This historic view of India is from Thomas and William Daniell's Oriental Scenery. The work was published between 1812 and 1816 in London for the authors at the Free-School Press by William Daniell and Longman, Hurts, Rees, Orme and Brown. This is the scarce quarto edition of one of the greatest pictorial records of India. The Daniells reduced their large folio plates for this edition in order to have their views of India reach a wider audience. "The Daniells left England in 1785, when William was only about sixteen, and they were back in England in September 1794. From an early stage Thomas seems to have set out to emulate and surpass Hodges (Select Views in India) in popularizing his views through the comparatively new medium of aquatint. The uncle and nephew were determined not only to do better than Hodges but to expose the weaknesses of the pioneer's work by choosing the same views as Hodges had done, drawing them more accurately, and aquatinting them more skilfully" (Abbey Scenery II, p.377).
This historic view of India is from Thomas and William Daniell's Oriental Scenery. The work was published between 1812 and 1816 in London for the authors at the Free-School Press by William Daniell and Longman, Hurts, Rees, Orme and Brown. This is the scarce quarto edition of one of the greatest pictorial records of India. The Daniells reduced their large folio plates for this edition in order to have their views of India reach a wider audience. "The Daniells left England in 1785, when William was only about sixteen, and they were back in England in September 1794. From an early stage Thomas seems to have set out to emulate and surpass Hodges (Select Views in India) in popularizing his views through the comparatively new medium of aquatint. The uncle and nephew were determined not only to do better than Hodges but to expose the weaknesses of the pioneer's work by choosing the same views as Hodges had done, drawing them more accurately, and aquatinting them more skilfully" (Abbey Scenery II, p.377).
Thomas Daniell (British, 1749-1840), and William Daniell (British, 1769-1837), "View of Gyah, an Hindoo Town in Bahar" from "Oriental Scenery: Twenty Four Views in Hindoostan," 1802, aquatint in colors, publication line (Thomas Daniell, London) lower center below mat, image: 16.5"h x 23.75"w, sheet: 17.75"h x 24.25"w, overall (with frame): 24.75"h x 30.75"w. Provenance: Property from the estate of artist Robert Bechtle and art historian Whitney Chadwick.
Thomas Daniell (British, 1749-1840) Four Works from Oriental Scenery, comprising:Raje Gaut, The Principal Road Up to Rotas Ghur, Bahar;Hindoo Temples at Agoouree, Ono the River Soane, Bahar;The Chalees Saloon in the Fort of Allahabad on the River Jumna;andRuins at the Ancient City of Gour Formerly on the Bank of the River Ganges colored aquatints Published by Thomas and William Daniell, London Image sight: 16 7/8 x 23 inches. This lot is located in Palm Beach.
*** Please note the description of this lot has changed. Gantz (Justinian, 1802-1862) Colonial mansion in India with horse drawn carriage outside, brush and ink, watercolour, traces of pencil, presented on contemporary mount with wash border, 280 x 480 mm (10 7/8 x 219 in), minor spotting and surface dirt, edges scuffed, unframed, [bearing Archer no. 444], [19th century] Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent *** We are very grateful to Charles Greig for suggesting the correct attribution to Gantz after first-hand inspection.
*** Please note, the description of this lot has changed. Gantz (Justinian, 1802-1862) Colonial mansion in India with local figures working in the garden, brush and ink, watercolour, traces of pencil, presented on contemporary mount with wash border, bearing erroneous attribution to Daniell lower right, 277 x 482 mm (10 7/8 x 219 in), minor spotting and surface dirt, unframed, [bearing Archer no. 197], [19th century] Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. *** We are very grateful to Charles Greig for suggesting the correct attribution to Gantz after first-hand inspection.
Daniell (Thomas) and William Daniell. Three original drawings from their voyage to India, by way of China, including a view of a Waterfall near Haridwar, Uttarakhand, India, inscribed verso 'No. 25 Water Fall [?]Haridiwar', and with a view of Amburghar Fort, Ambur, inscribed verso 'No. 238 Amboor Ghur', and a Chinese river view, inscribed verso 'No. 46 Near the entrance of the River Tigris/ China', pencil on paper, sheets measure 535 x 740 mm (21 1/8 x 29 1/4 in), 365 x 540 mm (14 1/4 x 21 1/4 in), and 295 x 465 mm (11 5/8 x 18 1/4 in), respectively, all inscribed verso but obscured as mounted on paper supports, minor spotting, the first mentioned with light foxing, small marginal nick, minor surface dirt, unframed, [circa 1786-1793] (3) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent.
Daniell (Thomas) and William Daniell. Entrance to a Hindoo Temple, near Bangalore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1817', platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 69], published by the artist, 1808 or slightly later. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 102.
Daniell (Thomas) and William Daniell. View Near Bangalore, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420, no. 68], published by the artist, 1808. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 101.
Daniell (Thomas) and William Daniell. The Observatory at Delhi, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), some spotting, surface dirt, unframed, [Abbey 420, no. 71], published by the artist, 1808 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 40. ⁂ The Jantar-Mantar was one of a series of observatories raised at Delhi, Jaipur, Ujjain, Benares and Mathura in about 1724 by Maharaja Jai Singh II of Jaipur, on instructions from the Mughal Emperor, Muhammad Shah, to reform the Hindu calendar. The Daniell' visited the site on the 24th February 1789 [see Archer, op. cit.]
Daniell (Thomas) and William Daniell. Exterior of an Eed-Gah near Chaynpore, Bahar, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1806', platemark 485 x 650 mm (19 1/8 x 25 5/8 in), sheet 540 x 725 mm (21 1/4 x 28 1/2 in), minor handling creases and small nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 66], published by the artist, 1808 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 78. ⁂ 23rd January 1790. 'A place designed for the performance of solemn festivals by the professors of the Mahomedan religion [and that the] the general forms [of the exterior of the old fort] are uncommon, as well as the embellishments, which nevertheless are extremely rich and not inelegant'. [Archer, op. cit.]
Daniell (Thomas) and William Daniell. The Rope Bridge at Sirinagur, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 705 mm (20 7/8 x 27 3/4 in), minor surface dirt, unframed, [Abbey 420, no. 149], published by the artist, 1805. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 54.
Daniell (Thomas) and William Daniell. Mausoleum of Nawaub Assoph Khan, Rajemahel, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1801', platemark 485 x 650 mm (19 1/8 x 25 5/8 in), sheet 535 x 720 mm (21 x 28 1/4 in), small scuff and brown spot within title in the centre, minor surface dirt, unframed, [Abbey 420, no. 24], published by the artist, 1803 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 19. ⁂ 9th October 1788. 'Went to Rajimal in our Palanquins where we met the Pinnace - passed thro' the Caravanserai that Hodges has made an Aquatinta print of - walked about the Ruins of Rajimal & saw many very Picturesque Views indeed... Saw many Alligators of a very large kind in the River'. [Archer, op. cit.]
Daniell (Thomas) and William Daniell. Ryacotta, in the Barramah'l; Sankry Droog, two works from Oriental Scenery and Twenty-Four Landscapes, etchings and aquatint with full hand-colouring, both excellent impression on Whatman wove paper, each platemark approx. 490 x 650 mm (19 1/4 x 25 1/2 in), sheets 530 x 710 mm (20 7/8 x 28 in), minor surface dirt and faint spots, unframed, [Abbey 420], published by the artist, 1802-1804 (2) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, nos. 104 and 107
Daniell (Thomas) and William Daniell. A Mosque at Juanpore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1801', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 530 x 720 mm (20 3/4 x 28 1/4 in), some spotting, minor surface dirt, unframed, [Abbey 420, no. 85], published by the artist, 1802. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 73.
Daniell (Thomas) and William Daniell. The Punj Mahalla Gate, Lucknow, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper without watermark date, platemark 485 x 660 mm (19 x 26 in), sheet 525 x 705 mm (20 3/4 x 27 3/4 in), handling creases, minor surface dirt, unframed, [Abbey 420], published by the artist, 1801 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 62. ⁂ July-October 1789. 'The plainness and simplicity of this edificeis more striking than the richness of its decorations; a circumstances seldom occuring in gateways belonging to Mahomedan princes. This gate leads to a palace erected by Nawaub Sujah ul Dowla'. [Archer, op. cit.]
Daniell (Thomas) and William Daniell. Three plates from 'Oriental Scenery', etchings and aquatint with full hand-colouring, excellent impressions on Whatman wove paper, each platemark approx. 490 x 650 mm (19 1/4 x 25 1/2 in), sheets approx. 530 x 730 mm (20 7/8 x 28 3/4 in), minor surface dirt and faint spots, handling creases, unframed, [Abbey 420], published by the artist, 1800-1804 (3) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. ⁂ Plates include: The Water-fall at Puppanassum in the Tinnevelly District; Part of the Interior of the Elephanta; and Part of the Kanaree Caves, Salsette.
Daniell (Thomas) and William Daniell. An Hindoo Temple, at Deo, in Bahar, from Antiquities of India, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 540 x 720 mm (21 1/4 x 28 1/4 in), minor surface dirt, unframed, [Abbey 420], published by the artist, 1800. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 84
Daniell (Thomas) and William Daniell. S.E. View of the Fakeers Rock in the River Ganges, near Sultaungunge; Sculptured Rocks, at Mavalipuram, on the Coast of Coromandel, two works from Oriental Scenery, etchings and aquatint with full hand-colouring, both excellent impression on Whatman wove paper, each platemark approx. 490 x 650 mm (19 1/4 x 25 1/2 in), sheet 530 x 730 mm (20 7/8 x 28 3/4 in), minor surface dirt and faint spots, unframed, [Abbey 420], published by the artist, 1799-1800 (2) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, nos. 90 and 127.
Daniell (Thomas) Govinda Ram Mittee's Pagoda, Calcutta, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 480 x 650 mm (18 7/8 x 25 1/2 in), sheet 530 x 715 mm (20 7/8 x 28 1/8 in), minor handling creases, repaired nick to upper right corner, three small repaired tears to lower edge, small unrepaired tear to left margin, minor surface dirt, unframed, [Abbey 420], published by the artist, 1798 Provenance: Kerr & Co., Calcutta ("Guarantee" ink stamp verso) From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 97.
Daniell (Thomas) The Great Pagoda, Tanjore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 535 x 740 mm (21 7/8 x 29 1/8 in), minor handling creases and small repaired nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 50], published by the artist, 1798. Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 125. ⁂ September 1792. 'The Brihadisvara or Rajarajesvara Temple, which stands within a walled compound, was built about AD 1000. The tall pyramidal tower of the main shrine is covered with intricate sculpture and is topped by a massive domical capstone. [Archer, op. cit.]
Daniell (Thomas) Near Currah, on the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper without watermark date, platemark 485 x 655 mm (18 7/8 x 24 3/4 in), sheet 530 x 710 mm (20 7/8 x 28 in), slightly trimmed margins, minor surface dirt, unframed, [Abbey 420, no. 22], Robert Bowyer, 1796; together with Chevalpettore, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper without watermark date, platemark 490 x 655 mm (18 7/8 x 24 3/4 in), good margins, minor surface dirt and handling creases, slightly rough edges, unframed, [Abbey 420, no. 131], published by the artist, 1804 (2) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 26 and 119.
Daniell (Thomas) Ramnugur, near Benares, on the River Ganges, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 495 x 650 mm (18 7/8 x 24 3/4 in), sheet 510 x 660 mm (20 1/8 x 26 in), slightly trimmed margins, minor surface dirt, unframed, [Abbey 420, no. 15], Robert Bowyer, 1796 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 14. ⁂ View looking towards the eastern right bank of the Ganges River, opposite to the Varanasi Ghats, including the Ramnagar Fort, a sandstone structure built in the Rajputana style in 1750 by Kashi Naresh Maharaja Balwant Singh.
Daniell (Thomas) The Sacred Tree of the Hindoos at Gyah, Bahar, plate 15 from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1794', platemark 480 x 630 mm (18 7/8 x 24 3/4 in), sheet 530 x 700 mm (20 7/8 x 27 1/2 in), minor handling creases and small nicks to edges, minor surface dirt, unframed, [Abbey 420, no. 16], Robert Bowyer, 1796 Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 15. ⁂ One of the most important pilgrimage sites in India, with the Akshaya Vata or Undying Banyan Tree, where pilgrims make offerings to the spirit of their ancestors. The Daniell's were there in March 1790, with Thomas Daniell noting "Gyah is a place of great antiquity, much resorted to by the Hindoos...[with] fragments of mutilated idols, the work of Mahomeddan intolerance.. still regarded with veneration."
Daniell (Thomas) and William Daniell. The Chalees Satoon in the Fort of Allahabad on the River Jumna; Part of the Palace in the Fort of Allahabad, two works from Oriental Scenery, etchings and aquatint with full hand-colouring, both excellent impressions on Whatman wove paper, the latter with watermark date '1794', each platemark approx. 490 x 650 mm (19 1/4 x 25 1/2 in), sheets 530 x 720 mm (21 x 28 1/4 in), minor surface dirt and faint spots, unframed, [Abbey 420, nos. 7 and 24], published by the artist, 1795 (2) Provenance: From the Collection of the Late W.G. and Mildred Archer; thence by descent. Literature: Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, nos. 24 and 64
![Gantz (Justinian) Colonial mansion in India with horse drawn carriage outside, watercolour, [c.1790].](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/71/759071/H20198-L353017037.jpg)
![Gantz (Justinian) Colonial mansion in India with local figures working in the garden, watercolour, [c.1790].](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/71/759071/H20198-L353017041.jpg)
![Daniell (Thomas) and William Daniell. Three original drawings from their voyage to India, by way of China, pencil on paper, [c. 1786-1793] (3)](https://stageimg.invaluable.com/housePhotos/Forum-Auctions/71/759071/H20198-L353017031.jpg)
