A beautiful example of colorization, with the rich brown of wood and skin set off against the black and white original studio backdrop. On the back, one owner has pencilled in "Hindu Bourgeois."
Parsi women were a popular subject—progressive women with traditional virtues, counterpoints to the nautch girl. This Parsi Lady is holding what could be a postcard.
Another example of Dhurandhar's virtuosity as a painter, with the forest of trees and white flowers lending vibrancy to woman in the foreground.
A classic late 19th century pose, with a three-legged Victorian table, books for the woman to rest her arm on, and painted studio backdrop.
"The professional photographers of Darjeeling generated innumerable prints depicting those whose toil supported the lifestyles of the colonialists in their homes and businesses, and who created products they loved to consumer," writes Claire Harris
A rather rare postcard of Sindhi female water carriers, even if it was posed in a studio, and, on the back addressed from Kirkee cantonment near Poona on May 2, 1917: "I see the women go through camp every day carrying these pots, some are
This card was made primarily for domestic audiences as the Hindi title, and secondary English title cleverly tucked into a corner vertically suggest. Note how the remnants of another postcard from a skewed cut is visible at the top.
Dancing girl of India on a popular Tuck's painted postcard, probably signed by G.E. McCulloch. Nautch or nach, a word used in several languages of North India, is an Indian term for "dance", and indicates several forms of popular dancing styles.
D. A. Ahuja, a Rangoon [Yangon] Burma-based Punjabi photographer and publisher whose images covered major locations in India as well.
Women of Kashmir pounded grain to remove hard shells and grind it into flour using long wooden poles; those who lived in small boats moored along the banks of rivers sat at the prows while pounding grain.