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This is a hand-painted postcard from around 1905, rather rare in India compared to, say, China where at the time numerous hand-painted postcards were being sent abroad.
This is a hand-painted postcard from around 1905, rather rare in India compared to, say, China where at the time numerous hand-painted postcards were being sent abroad.
[Original caption, Verso] “Watching the Pageant, Delhi. The great Delhi Durbar is known by means of the vernacular press to the inhabitants of the remotest parts of India.
A interesting very early lithographic card from Bombay by the little-known city artist/publisher W. Cooper, who seems to have specialized in the risque postcard (the same woman seems to be the model for A Trysting Place). Two things are particularly
An early court-sized card made from an albumen photograph with the studio inscribed in the glass negative at the bottom.
Hobson-Jobson defines "AYAH, s. A native lady's-maid or nurse-maid.
A very evocative studio portrait of three – instead of the usual single - ayah which, intentionally or not, hints at something of the pathos of their work.
[Original caption] A Belle of Northern India. The women of Delhi and district are, to Western eyes, rather more pleasing than those of many other parts of India.
A postcard that shows off the great detail achievable in the collotype printing process.
One of those postcards which remind you what an exceptional artist M.V. Dhurandhar was. In the midst of a harvest, with giant sheaves of the crop as if pulled apart like curtains, stands a woman in red with sickle in hand.
Clare Harris in her book Photography and Tibet (Reaktion Books, 2016) writes of this postcard, "a portrait of a young woman that features prominently in The Buddhism of Tibet as a generic illustration of Tibetan femininity implies that she'd been
Early postcards from the Malabar Coast are uncommon.