The growth of a city like Bombay was largely dependent on the work of laborers who carried bricks and building materials on wicker baskets on construction sites, much like they do today, which must be part of the reason why they were such common
The original black and white postcard predating the color version.
A truly multi-purpose postcard by Paul Gerhardt.
An early lithographic card by the elusive Bombay lithographer and publisher W. Cooper. Like some of this other cards, it seems to have originated in a photograph also published as a postcard by The Phototype Co.
The photographic original of one-half of the lithograph A Fair Exchange by W. Cooper.
Although the women do look somewhat similar in this set of a dozen Mughal Empresses, they can be identified individually thanks to the Urdu captions beneath each: [From Top Left to Top Right, First Row] Jamila Khatoon W/o [Wife of] Muhammad Mirza,
Benjamin B. Cohen, in his highly informative study of Raj clubs, In the club Associational Life in colonial South Asia writes: "Locating the center of the [colonial] club's sphere at Government House de-centered the club and reflects the strong link
[Original caption, verso] Haunsa Damayanti Sanvada:–The bird Haunsa gave and extols to Damayanti all about Nala, when she is in a garden. [end]
[Original caption] An inhabitant of North-West India unsurpassed as a hill fighter. Although Mahomedans, the Pathans rebelled against the Mogul Emperors round about the sixteenth century and were in consequence forced to keep to the hills. [end]
One of the classic Bombay images from the period, this "village scene" with unruly palm trees was reproduced in many formats by Clifton & Co. though it is this collotype version that is the most captivating.
Sent from Perim (an island near Yemen) to
