A refreshing portrait of a woman looking straight back at the viewer, not contained by the frame. Most probably from a portrait by Charles Scowen in the 1870s, who photographed the same woman in slightly different poses.
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.
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,
The Princely State of Chamba appeared on few postcards during the Raj even though its rulers seemed to have good relationships with a number of Punjab-based photographers, including Fred Bremner and John Burke.
An unusual card which shows a woman, presumably a dancer, looking at the the photograph of a man, a self-reflexive trope that may or may not be recognized by us, who hold the postcard in our hands.
This card, sent by a Mr. Seamus on Dec. 1, 1905 from Kolkata, has a stamp positioned in the top that extends the tilt of the woman's head.
[Original caption, verso] Haunsa Damayanti Sanvada:–The bird Haunsa gave and extols to Damayanti all about Nala, when she is in a garden. [end]
Although a coolie – "a hired labourer, or burden-carrier"(Hobson-Jobson, p. 249) – were at the bottom of the social ladder, and the word is said to originally come from Kolis, a hill-people in the Western Ghats, "whose savagery, filth and general
A very finely hand-tinted postcard, with the indigo closely fitting the cloth, one arm balancing a basket of fruit on the seller's head, the other reaching out to the viewer with a bright red sample.