Portrait of a Brahmin of the Carnatic, Bombay.1900'S

Portrait of a Brahmin of the Carnatic, Bombay.1900'S

Studio portrait of Sonar group, Bombay.

Bankoty group,[from konkan] Bombay.

Photograph of sandalwood carvers at work in India, taken by an unknown photographer in c. 1873, from the Archaeological Survey of Indian Collections.
Photograph of blackwood carvers at work in India, taken by an unknown photographer in c. 1873, from the Archaeological Survey of India Collections. This image showing two wood carvers at work, surrounded by elaborately carved furniture in the workshop, was probably shown at the Vienna Exhibition of 1873. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by J.F.Watson and John William Kaye, and published in eight volumes from 1868 to1875.
hotograph of turban folders at work in India, taken by Shivashanker Narayen in c. 1873, from the Archaeological Survey of India Collections. This image, of a group of workers folding turbans on wooden model heads, was probably shown at the Vienna Universal Exhibition of the same year. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by J.F.Watson and John William Kaye, and published in eight volumes from 1868 to1875.
Photograph of women gathering cowdung at Ahmadabad in Gujarat, taken by Shivashanker Narayen in c. 1870, from the Archaeological Survey of India. Narayen contributed to the book 'The People of India', published by the India Museum in 1868-75. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. Cow dung is collected and made into flat round 'patties' which are dried on walls and roofs and then sold as fuel and used extensively on cooking fires and for heating. It has many other uses, including fertiliser and as a flooring material when mixed with mud and water.

Photograph of a gold puggree border weaver at work in India, taken by Shivashankar Narayan in c. 1873, from the Archaeological Survey of India Collections. This image shows a craftsman weaving the border of a puggree, an expensive turban, made of gold thread; thread which has been mixed with gold wire made from gold leaf melted onto silver bars and forced through small holes in a steel plate to form very fine gauge wires. Metal threads from India were considered less likely to tarnish than products from other sources. The pulleys of the narrow loom pictured are affixed to the wall opposite the weaver and also to the ceiling of the small workshop and there appear to be regimental badges attached to the wall. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions.

Brahmin group, Bombay.--Photographer: Chintamon, Hurrichund Medium: Photographic print Date: 1860

Studio portrait of six Brahmins, or priests, in Mumbai, taken by Hurrichund Chintamon in the 1860s. This photograph is from the Archaeological Survey of India Collections; one of a series of ethnographical photographs commissioned by the Government of India in the late 19th century to gather information about the people and monuments of India. Material was submitted by both professional and amateur photographers. Ethnographical prints were also produced by large photographic firms and temporary studios in India to meet European demands for souvenirs from the East and in response the rising interest in ethnography. Brahmins are the highest of the four Hindu castes.
This lithograph was taken from plate 4 of Emily Eden's 'Portraits of the Princes and People of India'. Eden wrote: "The figures in the print are Jemadars of Chuprassies or head men of the servants, whom it is usual to employ in India, for the purposes of taking orders, carrying letters &c. They are generally dressed in a kind of livery suited to the native costume." A keen amateur artist, Eden painted the diverse people she met in India. She also detailed her observations and opinions on what she saw in letters to her sister, which were published in 1866 in two volumes, entitled 'Up the Country'.

Cotton stacks and 'churka' or cotton gin in operation, Berar--Photographer: Unknown Medium: Photographic print Date: 1866

Photograph of cotton stacks and a 'charka' or cotton gin in operation at Berar in India, taken by an unknown photographer in 1866, from the Archaeological Survey of Indian Collections. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by John Forbes Watson and John William Kaye, and published in eight volumes from 1868 to1875. This photograph shows a group of workers posed among piles of cotton. In the middleground two women operate a small charka or gin, while in the foreground a man is posed with a spinning wheel. In the exhibition catalogue of the Vienna exhibition of 1873 Watson describes of one of these machines, "[the charka] consists of two rollers, either one of iron and one of wood, or both of wood, revolving in opposite directions. The fibre is drawn through between the rollers, the seed, which is too bulky to pass through, falling on the other side. The machine is very simple, and seldom gets out of order, and the principle on which it works is the foundation of most of the cotton gins made from time to time in Europe...The native gins do their work fairly enough, but much seed is sometimes found in the cotton thus cleaned".

Dyers at work, Western India--Photographer: Narayen, Shivashanker Medium: Photographic print Date: 1873

Photograph of dyers at work in Western India, taken by Shivashanker Narayen in c. 1873, from the Archaeological Survey of India Collections. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by John Forbes Watson and John William Kaye, and published in eight volumes from 1868 to1875. This image of a group of dyers posed beside vats is probably the photograph shown at the Vienna Exhibition of 1873, and described by Watson in the catalogue as follows: "The vats are of clay, and built in as shown in the picture. The furnace goes right under the vat, the fuel used being the integument of the coca-nut."

Unknown photographer,-- Bhali Sooltans--, Oude, ca. 1862

Country shoe makers, probably in Western India--Photographer: Unknown Medium: Photographic print Date: 1873

William Johnson, 
Ghur-Baree (Householding) Gosaees, Bombay, 1850suun unknown photographer in c. 1873, from the Archaeological Survey of India Collections. This image of a group of shoemakers seated at work on the verandah of a workshop was shown at the Vienna Universal Exhibition of 1873. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by John Forbes Watson and John William Kaye, and published in eight volumes from 1868 to187

Cloth stamper, Western India--Photographer: Narayen, Shivashanker Medium: Photographic print Date: 1873

-Photograph of a cloth stamper seated at a low table on the verandah of a house in Western India, taken by Shivashanker Narayen in c. 1873, from the Archaeological Survey of India Collections. The craft of block printing cotton fabrics is particularly associated with Gujarat. The motifs include flowers, animals, people and abstract designs. The wooden blocks, carved with the design to be printed, have a handle on the back. They are made from woods that are light in weight, gurjun (Dipterocarpus Turbinatus-Gaert) or seasoned teak (Tectona Grandis-Linn); the former wears better when used as a block. Fabrics are still printed this way in India to this day. This image is probably the photograph shown at the Vienna Exhibition of the same year, and described by Watson in catalogue as follows: 'Printing...This is done by wooden stamps, which are charged with the colouring matter, and applied one after the other as the design may require.'

Worker preparing thread for sari weaving--Photographer: Shivashanker Narayen Medium: Photographic print Date: 1870

In the early 1860s the Governor General of India Lord Canning commissioned ethnographical photographs for the whole of India. This image showing a worker crouching beside a spinning wheel [charkha] and paying off thread to a reel at the right, is probably one of the series of views of cotton manufacture shown by Narayan at the Vienna Exhibition of 1873.

Studio portrait of three Shenoy Bhatias, Bombay.

Full-length portrait of three seated Shenoy Bhatias in Mumbai, posed against a painted backdrop, taken by Hurrichund Chintamon c. 1867. This photograph is part of the Archaeological Survey of India Collections and was on show in the Paris exhibition of 1867. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. Ethnographical prints were produced by large photographic firms operating in India as well as by smaller or temporary studios to meet European demands for souvenirs from the East. Chintamon had the oldest firm in Bombay.

Goldsmith

Photograph of a goldsmith at work in Delhi in India, taken by Shepherd and Robertson in c.1863. This image of the goldsmith blowing on his furnace through a tube is used as illustration no.186 in volume IV of 'The People of India' (1869). The text states, "The Sonar or gold and silversmith is an indispensible member of the Indian social condition of life; and he is to be found in every village, almost in every hamlet, as well as in all towns and cities. In the Deccan, where original national institutions are preserved in village communes, and wherever they are at present existant throughout India - the Sonar is a member of the hereditary village council, which includes the carpenter and blacksmith, the potter, and other useful and indispensible mechanics, and is twelve in number, presided over by the patell, the hereditary magistrate or head manager

A studio portrait of a Kathiawar Rajput gentleman posed with a hookah, from the Archaeological Survey of India Collections. This was taken by Hurrichund Chintamon and shown in the Paris Exhibition of 1867. In the 19th century photographers found that the sub-continent offered limitless opportunities to record a vast diversity of peoples and their dress, manners, trades, customs and religions. Ethnographical prints were produced by large firms operating in India as well as by smaller or temporary studios to meet European demands for souvenirs from the East. Figures were often posed to display their characteristic attributes and artefacts. The Indian photographer Hurrichund Chintamon began one of the oldest photographic firms in Bombay (1858-81). He made a notable contribution to the book, 'The People of India'. Indian Museum, London, 1868-75.

Shrofs. Money changer--Photographer: Shepherd and Robertson Medium: Photographic print Date: 1863

Studio portrait of shroffs or money changers at Delhi in India, taken by Shepherd and Robertson in c.1863. This image of two men, seated with account books and piles of coins, is reproduced as illustration number 185 in Volume IV of John Forbes Watson's 'The People of India' (1869). The accompanying text states, "Shroffs are not always Bunneas (small traders), although the person illustrated may have been one. They are not unfrequently Brahmins, who have adopted a secular calling, and deal in money - Khutris, and other castes, Vaisya and Sudra. Their trade is the exchange of money, the giving change for rupees in pyce or copper coin, and for pyce in cowries. In the higher branches of his calling, the Shroff discounts hoodees, or bills of exchange, bonds, and promissory notes. He deals also in bullion, in small or large quantities, buys and sells ornaments, old and new pearls, and precious stones of all kinds. Finally, he lends money, generally on pledges of gold and silver ornaments, in small proportion to their value, but at moderate interest."

Photograph of an embroiderer in Delhi taken by Shepherd and Robertson in c.1863. This image of a man seated cross-legged at his embroidery frame is reproduced as illustration no.188 in volume IV of John Forbes Watson's 'The People of India' (1869), where it is captioned 'Scarfmaker'. The accompanying text states, "Delhi scarves are famous, and there are few to whom they are not known. They are of cashmere cloth, or of net, embroidered with silks of various colours, and in all imaginable designs...The outline is traced carefully on the material to be embroidered, which is stretched upon a frame supported by trestles, as seen in the photograph. The worker is seated on the ground beside it, and fills in the pattern with floss silk by means of wooden needles, like those used in the embroidery of cashmere shawls.

Tailors at work

Studio portrait of tailors at work taken by Nicholas and Curths in c. 1870, from the Archaeological Survey of India Collections. This image is from a series by Nicholas & Curths, shown at the Vienna Universal Exhibition of 1873. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions.

Rungrazes. (Dyers)--Photographer: Shepherd and Robertson Medium: Photographic print Date: 1863

Photograph of a group of Rangrez or dyer caste members at work in India, taken by Shepherd and Robertson in c.1863. This photograph is reproduced as illustration no.183 in volume IV of John Forbes Watson's The People of India (1869). The accompanying text states, "A few large pans for mixing the dyes, trestles for supporting the straining cloth, and a press are all that are used in the simple operations of the craft...The craft is hereditary; and and the secrets of mixing colours, methods of extracting the dyes, of the use of mordants, and of producing every variety of tint that may be necessary, descend from father to son, and have perhaps been little changed in the course of ages...the colours produced by the Indian dyer are for the most part very pure and beautiful. They are of two kinds: one permanent, and used in fabrics which have to bear constant washing; the other fleeting, and intended for temporary use only. In the former catalogue are the yarns for weaving both silk and cotton cloths; in the latter, white cloths, such as muslin, turbans, scarves and the like, are dyed in the piece, to suit the taste of their possessors. Turbans and scarves, for instance, are dyed of the brightest and most delicate tints of scarlet, pink, rose colour, crimson, purple, yellow, orange, and green, by mixtures made from safflower, turmeric, madder, and indigo, &c...the permanence of the Indian dyes in all shades of madder and cochineal, combined with indigo and other colours, has always been remarkable. The garments woven from such dyed yarns are chiefly those worn by women, and have to undergo not only daily washing, but exposure to the sun in drying; yet the colour not only never fails, but seems to grow brighter and clearer from constant exposure."

Golas. Salt makers--Photographer: Shepherd and Robertson Medium: Photographic print Date: 1863

Photograph of Golas, salt makers, in Rajasthan in India, taken by Shepherd and Robertson in c.1863. This image shows a group of four men, three seated, one standing, gathered round a basket of salt. John Forbes Watson wrote in 'The People of India', 1869-72, Volume IV, in which this photograph was reproduced, "The Golahs are a low class caste or tribe of Hindoos, but by no means one of the outcast tribes...the Golahs are professional salt makers, while they are also general cultivators; for it is only in the hottest weather that they can carry out their work as salt makers...In domestic customs and religion, the Golahs do not differ from the Jats or Goojurs in any remarkable degree...Their women are not secluded, and assist their families both in field labour and salt making. Baskets of salt are shown in the photograph, as also the strong hoe with which the salt earth is dug out....The Golahs are considered a gentle, honest class, and no habitual crime is attributed to them. As a rule they are very industrious, and are not migratory or unsettled..."

Moulvies [Muslim lawyers, Delhi]--Photographer: Shepherd and Robertson Medium: Photographic print Date: 1863

Photograph of 'moulvies', Muslim lawyers, at Delhi in India, taken by Shepherd and Robertson in c.1863. This image of three seated men in discussion, surrounded by books, is reproduced as illustration no.198 in volume IV of John Forbes Watson's 'The People of India' (1869). The accompanying text states, "The photograph represents three doctors of Mahomedan law, or Moulvees, in discussion, perhaps on some knotty point in the text, on which the figure on the left has placed his hand, while the other two are listening to what he has to say. They form a very characteristic group of a class of learned men, who are perhaps decreasing under lack of patronage and exercise for their talents and knowledge...however, Mahomedan law still occupies a prominent place, and all property belonging to Mahomedans is inherited, divided, or litigated, under that law. Thus marriage settlements are drawn up by Moulvees, and the separate shares of widows, sons, and daughters, of all families of Mahomedans are defined by them. Wills are written by them, and conveyances and deeds in special cases; in short the civil law business of the Mahomedan people of India is in their hands. English judges are supposed to be conversant with Mahomedan law; but there are many points in which the general direction of a competant law officer is needful, and a Moulvee who has passed a prescribed examination is attached to every civil court."

Studio portrait of three Camatti women of the mason caste.--Photographer: Unknown Medium: Photographic print Date: 1860

A Studio portrait of three Camatti women of the mason caste, taken by an unknown photographer in the 1860s. This is one of a series of photographs from the Archaeological Survey of India Collections commissioned by the Government of India in the 19th century in order to gather information about the different racial groups on the sub-continent. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. Ethnographical prints were produced by large photographic firms operating in India as well as by smaller or temporary studios to meet European demands for souvenirs from the East.

Dubgur caste making pots---Photographer: Narayen, Shivashanker Medium: Photographic print Date: 1870

Photograph of a group of men from the Dubgur caste making pots, at Surat in Gujarat, taken by Shivashanker Narayen in c. 1870, from the Archaeological Survey of India. Unglazed terracotta or earthenware pots would be used for storage of grain, spices or pickles. Vessels are also made for transporting and storing water. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by John Forbes Watson and John William Kaye, and published in eight volumes from 1868 to1875.

Photograph of two zardozis (gold lace makers) at Delhi in India, taken by Shepherd & Robertson in c. 1863,

This image is reproduced in 'The People of India', vol IV, (no. 187). The accompanying text states "The photograph shows a man at work, with his assistant, who may be required occasionally, but who for the present is looking on. The workman is seated on a rude stool, which has a rest for his right hand. The treadles of his simple loom, worked by his feet, are seen below, and the cross pieces above are the heddles and strings which hold his materials for the pattern he is working, and which is effected by skilful manipulation...Thus are woven some of the most wonderful and beautiful fabrics in the world. Tissues of gold and silver, plain and figured, with and without a mixture of silk or cotton in flowers and patterns; gold and silver tissue lace of all breadths and patterns, used for trimming scarves, and for bridal dresses; larger scarves of muslin and tissue combined, as those of Benares; and that wonderful cloth of gold called kumkhab or kincob, which is without parallel in the ornamental manufactures of the world. All these are comparatively little known as yet in Europe; but in the various International Exhibitions in England and France, specimens have been exhibited, which have excited alike wonder and admiration." It was held that metal threads from India were less likely to tarnish than similar products from other sources.

Photograph of a gold puggree border weaver at work in India, taken by Shivashankar Narayan in c. 1873

This image shows a craftsman weaving the border of a puggree, an expensive turban, made of gold thread; thread which has been mixed with gold wire made from gold leaf melted onto silver bars and forced through small holes in a steel plate to form very fine gauge wires. Metal threads from India were considered less likely to tarnish than products from other sources. The pulleys of the narrow loom pictured are affixed to the wall opposite the weaver and also to the ceiling of the small workshop and there appear to be regimental badges attached to the wall. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions.

Women preparing cowdung cakes for fuel, Ahmadabad--Photographer: Narayen, Shivashanker Medium: Photographic print Date: 1870

Photograph of two women fashioning cow dung into flat cakes at Ahmadabad in Gujarat, taken by Shivashanker Narayen in c. 1870, from the Archaeological Survey of India. Narayen contributed to the book 'The People of India', published by the India Museum in 1868-75. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. Cow dung is collected and made into flat round 'patties' which are dried on walls and roofs and then sold as fuel and used extensively on cooking fires and for heating. It has many other uses, including fertiliser and as a flooring material when mixed with mud and water

William Johnson, Ghur-Baree (Householding) Gosaees, Bombay, 1850s

Dyers at work, Western India--Photographer: Narayen, Shivashanker Medium: Photographic print Date: 1873

photograph of copper and iron mining scenes at Alwar in Rajasthan, taken by Thomas Cadell in c. 1873,

This image, possibly of the entrance to the Dareeba copper mine, is one of a series of photographs shown at the Vienna Exhibition of the same year and mentioned in the exhibition catalogue by John Forbes Watson. After photography was introduced into India in the 1840s it rapidly grew in popularity, particularly as a means to record the vast diversity of people and their dress, manners, trades, customs and religions. The first official attempt to create a comprehensive record of Indian types was the 'The People of India'; an ethnographical survey edited by J.F.Watson and John William Kaye, and published in eight volumes from 1868 to1875.

A student of the Hindu College.Artist: Eden, Emily Medium: Lithograph Date: 1844

This lithograph is taken from plate 18 of Emily Eden's 'Portraits of the Princes and People of India'. Eden described the image on the left as one of "a favourite and successful young student at the Hindoo College, in Calcutta, where scholars acquire a very perfect knowledge of English, and have a familiarity with the best English writers which might shame many of our own schools. The Hindoo youths have an extraordinary aptness and precocity as scholars, and their exhibitions are very interesting and gratifying. This young student, who was the son of a native gentleman of rank in Calcutta, recited English poetry with particular grace and propriety