Native Princes in the Grand State Entry - Delhi Durbar 1903

Source: Library of Congress (loc.gov)

A Street Scene in Delhi - 1907

Source: Library of Congress (loc.gov)

Professor [James] Ricalton stereographing the great Durbar, Delhi, India - 1903

Source: Library of Congress (loc.gov)

Writers Building Kolkata (Calcutta)

Date : Probably from early 20th Century
Source: Library of Congress (loc.gov)

Studio portrait of a girl from Karachi in Sind, Pakistan, taken by Michie and Company in 1870s

Studio portrait of a girl from Karachi in Sind, Pakistan, taken by Michie and Company in c. 1870, from the Archaeological Survey of India Collections. This is one of a series of photographs commissioned by the Government of India in the 19th century, in order to gather information about the dress, customs, trade and religions of the different racial groups on the sub-continent. The girl in the photograph demonstrates the method of wearing ear and nose rings, bracelets and anklets.

Source: British Library

Portrait of a Muslim girl from Sindh, showing method of wearing ear and nose rings, and anklets - 1870s

Full-length standing studio portrait of a Muslim girl from Karachi in Sind, Pakistan, taken by Michie and Company in c. 1870, from the Archaeological Survey of India Collections. This is one of a series of photographs commissioned by the Government of India in the 19th century, in order to gather information about the dress, customs, trade and religions of the different racial groups on the sub-continent. Images like this one were exhibited at European international exhibitions during the nineteenth century. The girl in the photograph demonstrates the method of wearing ear and nose rings, and anklets.

Source: British Library

Portrait of a girl from Sindh, showing method of wearing ear and nose rings, wristlets and anklets - 1870s

Full-length standing studio portrait of a girl from Karachi in Sind, Pakistan, taken by Michie and Company in c. 1870, from the Archaeological Survey of India Collections. This is one of a series of photographs commissioned by the Government of India in the 19th century, in order to gather information about the dress, customs, trade and religions of the different racial groups on the sub-continent. The girl in the photograph demonstrates the method of wearing ear and nose rings, bracelets and anklets.

Source: British Library

Portrait of a Muslim girl from Karachi in Sind, Pakistan, taken by Michie and Company in 1870s

Full-length standing studio portrait of a Muslim girl from Karachi in Sind, Pakistan, taken by Michie and Company in c. 1870, from the Archaeological Survey of India Collections.

This is one of a series of photographs commissioned by the Government of India in the 19th century, in order to gather information about the dress, customs, trade and religions of the different racial groups on the sub-continent. Images like this one were exhibited at European international exhibitions during the nineteenth century. The girl in the photograph demonstrates the method of wearing ear and nose rings, necklace and anklets. She is also wearing ceremonial dress and has a lock of hair pulled down over her forehead.

Source: British Library

Seven Parsee women, grouped around a table, taken by an unknown photographer in Bombay (Mumbai) - 1860s

Seven Parsee women, grouped around a table, taken by an unknown photographer in the 1860s, from the Archaeological Survey of India Collections. The Parsees were descendants of Persians who fled to India in the seventh and eighth centuries to escape Muslim persecution. They are Zoroastrian, the religious system commonly known as fire-worship. Their communities are concentrated in Maharashtra and Gujarat states, especially in Bombay.

Source: British Library

Photograph of two men and two women of the Malaiyali tribe in the Shevaroy Hills in Tamil Nadu - 1860s

Photograph of two men and two women of the Malaiyali tribe in the Shevaroy Hills in Tamil Nadu, southern India, taken by an unidentified photographer in the 1860s, from the Archaeological Survey of India Collections. The Malaiyalis, or Hill-dwellers, were a homogenous community whose subsistence and economy depended exclusively on the forests. The figures in this image are posed against the exterior of a tent. This print is one of a series commissioned by the Government of India in the late 19th century in an attempt to gather information about the different racial groups on the sub-continent. Material was submitted by professional and amateur photographers working in studios and in the field; this photograph was attributed to the Madras School of Industrial Arts, an important training centre for photographers in the area, established in 1850.

Source: British Library

Two Women of the Mahar Caste - 1870

Seated carte-de-visite portrait of two women of the Mahar caste, one of a series of prints of ethnic types and occupations taken by Bourne and Shepherd in the early 1870s. The caste name, lightly pencilled in, appears to read Mhar. Mahar, are a caste-cluster, or group of many endogamous castes, living chiefly in Maharashtra state, and in adjoining states. Traditionally the Mahar caste came from the lowest group of the Hindu caste system but they have witnessed immense social mobility after Indian independence. The great social reformer Dr. B.R. Ambedkar was from the Mahar caste and championed a fight against the oppression of the Hindu caste system.

Studio portrait of five women wearing jewellery, at Madras in Tamil Nadu - 1870s

Full-length studio portrait of five women wearing jewellery, at Madras in Tamil Nadu, taken in c. 1870s, from the Archaeological Survey of India Collections. This photograph is attributed to The Madras School of Industrial Arts which was an important training centre for photographers in the area, established in 1850. The two girls standing behind the three seated women are wearing the jewelled head-dress traditionally worn at marriage ceremonies or at 'rites of passage' ceremonies performed when a girl reaches puberty.

Source: British Library

Tank and Cenotaph of Maharaja Bakhtawar Singh (1781-1815), at Alwar in Rajasthan - 1903

Stereoscopic photograph, looking across the tank towards the cenotaph of Maharaja Bakhtawar Singh (1781-1815), at Alwar in Rajasthan. This image was taken by James Ricalton in c. 1903, and is from The Underwood Travel Library: Stereoscopic Views of India. The town of Alwar was founded by Rao Pratap Singhji of Macheri in 1771 as capital of the former state of Alwar. The marble cenotaph in this view is built of marble with Bengali arches on a red sandstone platform. This image is described by Ricalton in 'India Through the Stereoscope' (1907), 'This pool with the beautiful buildings by which it is surrounded, with the Fort above commanding a view of the entire city and valley, constitutes one of the most lovely views in India. Towards our left lie the Palace and the Zenana (the ladies quarters); towards the west are several handsome temples of Vishnu; northward are other temples and shrines hidden among umbrageous trees; and beyond those exquisite kiosks, you see the splendid cenotaph of Bakhtawar Singh, a pavilion resting on many white marble pillars.' This is one of a series of 100 photographs designed to be viewed through a special binocular viewer, producing a 3D effect, which were sold together with a book of descriptions and a map. Stereoscopic cameras, those with two lenses and the ability to take two photographs at the same time, were introduced in the mid 19th century.

Source: British Library

Dhobies (washer men) at work in river - Lucknow, India 1903

Stereoscopic photograph of dhobis washing clothes in the Gumti at Lucknow in Uttar Pradesh, taken by James Ricalton in c. 1903, from The Underwood Travel Library: Stereoscopic Views of India. This image with the railway bridges across the river in the background is described by Ricalton in 'India Through the Stereoscope' (1907): "Dhobies are professional washermen - they infest every pool, pond, tank, and river, and lake in India...He either pounds with a stick or heaves above his head the garment he is washing, and brings it down with a tremendous swash upon a stone or rock chosen for the purpose...the river here is passing through an alluvial plain and there is not a stone for miles. Instead of a stone, a slab of wood is braced up near the edge of the water; the articles to be washed are placed upon this and beaten with a stick or bundle of twigs." This is one of a series of 100 photographs, designed to be viewed through a special binocular viewer, producing a 3D effect, which were sold together with a book of descriptions and a map. Stereoscopic cameras, those with two lenses and the ability to take two photographs at the same time, were introduced in the mid 19th century.

Source: British Library

Crossing the boiling floods of Jhelum River by a bridge of one raw-hide rope, at Uri, India - 1903

Stereoscopic photograph of two types of rope-bridge across the River Jhelum at Uri in Jammu and Kashmir, taken by James Ricalton in c. 1903, from The Underwood Travel Library: Stereoscopic Views of India. This image is described by Ricalton in 'India Through the Stereoscope' (1907), "Among the Himalayas several kinds of primitive bridges are in use; there are two kinds here before us now. The one we see in use consists of a single strand of raw-hide rope made fast to either shore by an anchorage of stone, and then elevated and supported by a few rude sticks. A saddle or carrier is made from the crotch of a tree inverted over the rope; a loop of rope is attached to each pending arm of the saddle; through these loops the legs of the passenger are thrust, while his hands clutch the projecting top of the saddle. A small pull cord extends from the saddle to a bridge-tender on each side of the river...those huge, ragged strands suspended cross to the right and up the river...are the remains of a former bridge...formed by two heavy cables of twigs or withes, bound and interlaced to a thickness of about five inches; those were held apart and supported by transverse sticks which can be seen still dangling from the unbroken cable. For the foot-way, sections of split timber or bamboo were placed at stepping distances on the cables." This is one of a series of 100 photographs, designed to be viewed through a special binocular viewer, producing a 3D effect. The series was sold together with a book of descriptions and a map with precise locations to enable the 'traveller' to imagine that he was touring around India. Stereoscopic cameras, those with two lenses and the ability to take two photographs at the same time, were introduced in the mid 19th century and revolutionised photography. They cut down exposure time and thus allowed for some movement in the image without blurring as subjects were not required to sit for long periods to produce sharp results.

Source: British Library

Indian Holy Man - Date Unknown

Collected from ebay.com

Indian Buffalo Cart - Date Unknown

Collected from ebay.com

Indian Men in Ox Cart - Date Unknown

Collected from ebay.com

Temple at Ekteswar, Bankura District - Bengal - 1872

Photo of the temple at Ektweswar, Bankura district taken by J.D. Beglar in 1872. "Two miles south-east of Bankura, on the left bank of the Darikeswara River, is the small village and temple of Ekteswar; the temple is remarkable in its way; the mouldings of the basement are the boldest and finest of any I have seen, though quite plain; the temple was built of laterite, but has had sandstone and brick additions made to it since..." Bengal list, pp. 20-21; J.D. Beglar, Report of a tour through the Bengal provinces... (A.S.I. Vol. VIII, Calcutta, 1878), pp. 200 The parts of the temple that can be seen in this photograph are the result of alterations which bear little resemblance to the original temple's design. The temple is dedicated to Shiva and inside the shrine, a large linga is supposed to have thrust it's way up through the ground.

Source: British Library Website

Sculptured slab at Bilas representing the eight Saktis of Durga - Ugrachanda, Prachanda, Chandogra, Chandanayika, Atichanda, Chamunda, Chanda and Chandavati - 1896

Photograph of a sculpted image of the eight Saktis of Durga from Bilas in Rajasthan, taken by an unknown photographer for the Archaeological Survey of India Collections: Northern Circle (North-Western Provinces and Oudh) in 1896-97. Bilas is a site hidden in the dense jungle, about 65 miles east of Kotah. The archaeological remains consist of ruined dwelling-houses, palaces and temples that are Shaiva, Vaishnava or Jain and are of an ancient city formerly called Suvarna-panari-pura. The most recent inscription discovered at the site dates to the 14th century and refers to an earthquake that most likely brought about the demise of the city. Sakti (shakti) can be described as the immanent force of the goddess Devi who has many manifestations, one of which is Durga.

Source: British Library

Figure of Durga at Halebid in Karnataka - 1856

An albumen print by Richard Banner Oakeley of the figure of Durga at Halebid in Karnataka. Halebid (ancient Dwarasamudra), a small town in the Hassan district, was once the capital of the Hoysala dynasty of the southern Deccan which flourished from about 1100-1350 AD. Invasions by the Delhi Sultanate in the 14th century led to its decline. The Hoysalas were avid temple builders and the site is renowned for the remnants of architecture and sculpture fashioned out of the chloritic schist in the region. The most famous monument here is the twelfth-century Hoysaleswara temple dedicated to Shiva, which was built for an official of Vishnuvardhana (reigned 1108-42). It is an exemplar of the lavish Hoysala style and is encrusted with continuous bands of sculpture, unsurpassed in its detail and vitality. Here Durga (a form of Shakti the Mother Goddess) is seen in a typical pose slaying the demon Mahisha.

Source: British Library

Durga image at south end of verandah of the Indra Sabha rock-cut temple, Ellora - 1868

Photograph of a sculpture at the south end of the verandah of the Indra Sabha rock-cut temple at Ellora, from the Archaeological Survey of India Collections, taken by Henry Mack Nepean in 1868. The spectacular site of Ellora has a group of Hindu, Buddhist and Jain cave temples which extend for over 2 km on the west face of a basalt cliff. Indra Sabha is the largest of the Jain series excavated under Rashtrakuta patronage in the 9th century. A simple gateway leads to a courtyard which contains a monolithic shrine with a pyramidal roof. The interior of this double storey cave has a columned mandapa or hall with niches on the three sides and the sanctuary in the middle of the back wall. This view shows a carved figure of the Jain goddess Ambika with a child seated on her lap and a lion beneath. The columns shafts are carved with elaborate foliate and garland motifs.

Source: British Library

Statue of Durga slaying Mahisasura, Dulmi, Manbhum District - 1872

Photograph of a sculptured slab representing Durga slaying Mahisasura at Dulmi, taken by Joseph David Beglar in 1872-73. In his descriptive notes of that area of 1865 Thomas Fraser Peppé wrote, "Near the river are two mounds formed of the debris of two or more fine temples. The altar piece of one was a ten-armed figure of Doorgah slaying the monster Mahisasoor. There are two groups of this subjects, one greatly mutilated, the other in good preservation, the arms and weapons all perfect and sharp cut." For followers of Shiva, Durga is Shiva's wife whilst for followers of Vishnu she is another form of Parvarti. For both, Durga represents a killer of demons and it is performing this role she is depicted in this sculpture.

Source: British Library

Construction of Darjeeling Hill Road - 1865 Part - 2

Photograph from the album of views depicting the Construction of the Darjeeling Hill Road taken by an unknown photographer in 1865. Darjeeling was part of the territory of the Rajas of Sikkim till the 18th century and was given to the British in 1835. The British built a sanatorium here and it soon became the summer headquarters of the Bengal government. The road connecting Darjeeling with Siliguri on the plains was initiated in 1861 largely as a result of the sudden expansion of tea plantations in the mountains. Constructed and maintained by the Public Works Department, it was 48 miles long, 25 feet wide and cost around £6,000 per mile to build. It was a popular tourist route owing to the spectacular scenery it passed through, but was later superseded by the railway.

This view 2 miles above Kurseong with the temporary bridge shows the damage on June 13th 1869 as part of the road was washed away by flooding.

 Entrance to Pearson's Cutting, 3 miles below Kurseong

Gyabarry Bungalow and Cutting

 This view 2 1/4 miles above Kursiong shows the effects of the landslide probably due to flooding in June 1865.

One mile above Gyabarry

Road 3 & ½ miles from Darjeeling

Section of Gyabarry Cutting

The Staff of the Road, Nov. 1865

 Two miles above Gyabarry, looking South

View in Pearson's Cutting No. 3