South Indian Woman
One of the more beautiful hand-tinted real photographic postcards. Identified only as a South Indian woman, it seems to have been printed in a French colony (Vietnam?) by a Chinese photographer.
One of the more beautiful hand-tinted real photographic postcards. Identified only as a South Indian woman, it seems to have been printed in a French colony (Vietnam?) by a Chinese photographer.
A portrait of a woman in a photographer's studio where the fine detail of her garment and the cane work she is resting her arm on almost overwhelm the sitter. There is also detail in the background, and even the carpet is full of patter. K.
The successful colorization of what was originally a black and white photograph is exemplary.
The pontoon bridge that bound the railway station and other sites on the farther bank of the Hooghly river to the main city in the foreground (it was replaced in the late 1930s by the iron Howrah Bridge). While this postcard was likely from a
A classic Dhurandhar portrait. The growing metropolis of Bombay with its modern buildings form the backdrop to a fully formed character, in traditional dress, with a quizzical expression on her face. Does she understand what is happening around her?
This postcard actually shows Gohar Jan, India's first gramophone recorded artist (1902) and the most famous singer of her time.
Note the liquor bottle, likely whisky and soda on the tray in the khitmatgar's hands.
This woman, in a similar pose on a postcard published by and from a photograph by Fred Bremner, was called "A Punditani (Hindu) Kashmir." Inasmuch as titles were fluid, the same image, above, was called "A Daughter of Noah Dal Lake Kashmir" in a
Dambatenne Estate, established in 1890, is still part of the Lipton's team empire. Perhaps most noteworthy about this advertising postcard is the way the woman's orange clothing is both distinct from and engulfed by the tea leaves.
Paharis refers to the indigenous hill people who lived around Shimla and populated a large area in the lower Himalayas.