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.
In her Tourist's India (1907), Eustace Alfred-Reynolds Ball writes: "Colonel Durand in his "Making of a Frontier" gives in few words a picturesque yet accurate description of Srinagar from the river : "The town, a huddled mass of lightly-built
Postcards were an important advertising tool for hotels from the mid-1890s, when Alpine hotels in Austria, Germany and Switzerland helped to popularize the medium.
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,
[Original caption] The Museum. As befitting an important town like Bombay, the Museum is, indeed, a very fine one, and contains many valuable collections. [end]
This postcard was likely printed soon after the construction of the Prince of Wales
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.
Occasionally, nomads — those most fleeting of human subjects and least sedentary inhabitants of our planet—were caught on a postcard.
One of the most famous palaces in Lucknow, built by Nawab Ghazi-ud-Din Haider in the early 19th century, the Chattar Manzil epitomized the eclectic mixture of European and Indian architectural styles that made Lucknow so photogenic for early
Kasauli is a hillstation in Himachal Pradesh, established in 1842, less than 80 km from Simla. Murray's Handbook for India, Ceylon and Burma
The gold frame and embossing were part of changing postcard fashions.