A self-published, artist-signed postcard of an Impressionist sensibility by Miss Barnes of Madras [Chennai]. Painting was a hobby of many British women and men in India, watercolors often found in albums, but few went to the trouble of having their
One of an extensive set of series H.A. Mirza & Sons, Delhi's leading photographer and postcard publisher at the time, made of the Darbar.
The bicycle was something quite new in Bombay at the turn of the century, and often featured on postcards, frequently with women as drivers.
"Vast indeed have been the changes that have occurred in Calcutta during the past few decades," writes Allister Macmillan in Seaports of India and Ceylon, "but none has been more remarkable than that represented by the Grand Hotel, which occupies an
Almost invisible in this painted scene are the two men near the center, half-hidden markers of scale, secret rewards for the perceptive postcard viewer.
According to Hobson-Jobson, the word gymkhana "is quite modern, and was unknown 40 years ago. The first use that we can trace is (on the authority of Major John Trotter) at Rūrkī in 1861, when a gymkhana was instituted there.
The Urdu text and number suggests that this postcard was made from what was originally a carte-des-visite. Joachim Bautze in his essay Umrao Jan Ada: Her carte-de-visite describes how this form of identification on images was a common practice among
The significance of Buddhism in Burma [Myanmar] reflected in a landscape dotted with pagodas. Shwegyin is close to the Indian border on the western side of Myanmar.
[Original caption continues] Marks the Victory Over the Musalmans. [end]
The original Chittorgarh tower, or Vijay Stambh was constructed in the 16th century to commemorate a victory by the Rajput Maharana Kumbha over the Malwa ruler, Mohamed Khilji