1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 2
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India
Sanawar
Date:
circa 1860s
Scope and Contents:
One albumen print of the Sanawar Church and girl's school, from the road, circa 1860s. View from angle with a few Indian women to the right. Signed "Bourne 1135" in the lower left corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts a Sanawar Church and girl's school, from the road.
Local Numbers:
FSA A1999.22
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: Sanawar Church and girl's school, from the road, FSA A1999.22. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.22
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Microform
Prints
Photographs
Albumen prints
Place:
Agra (India)
India -- Uttar Pradesh -- Agra
Date:
circa 1860s
Scope and Contents:
One albumen print of the mausoleum of Prince Etmad-Dowlach (Agra, India), circa 1860s. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1233" in the lower left corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the tomb of Mirza Ghiyas Beg, located in Agra, India. An important official of the Mughal empire. Ghiyas Beg served as the chief treasurer during the rule of Emperor Jahangir, and was given the title I'timād-ud-Daulah (i.e. Etmad-Dowlach), or Pillar of the State. The tomb, which is considered an architectural predecessor of the Taj Mahal, was commissioned by Nur Jahan, Ghiyas Beg's daughter and the wife of Jahangir.
Local Numbers:
FSA A1998.08
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Samuel Bourne Photograph: Mausoleum of Prince Etmad-Dowlach, Agra, FSA A1998.08. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1998.08
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Seven 19th-century albumen photographs taken by Samuel Bourne, Colin Murray and unknown photographers (possibly William Johnson and William Henderson). The photographs depict various scenes and people of India, including a portrait of a hunting party in Nepal, images of the Queen Victoria Monument in Bombay and views of Dal Lake, Calcutta and Kutb Minar.
Arrangement:
Organized in one box.
Biographical / Historical:
Catherine Glynn Benkaim is a trustee of the Freer and Sackler Galleries of the Smithsonian Institution in Washington. She graduated from the University of California, Santa Barbara and has a master's degree in Asian art history from U.C.L.A,. as well as a doctorate in Indian art history from the University of Southern California.
Samuel Bourne's photographic career in India, which spanned only seven years before his departure in 1870, began with his arrival in Calcutta in 1863. In Simla, he formed a partnership with two established photographers, Howard (likely William Howard) and Charles Shepherd. Howard soon left, and within a few years, Bourne & Shepherd had become the most successful firm in the subcontinent, opening additional studios in Calcutta (1867) and Bombay (1870). Colin Murray (d. 1884) became the main photographer of Bourne & Shepherd in 1870.
William Johnson had a daguerrotype studio in Bombay circa 1852-1854 and a photographic studio circa 1854-1860. In partnership with William Henderson, Johnson produced the "Indian Amateur's Photographic Album" (1856-1858).
Local Numbers:
FSA A2006.02
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Albumen prints
Photographs
Citation:
Catherine Glynn Benkaim Collection, FSA A2006.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A2006.02
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
One albumen print of Cawnpore, the Memorial Well. View from an angle with a few Indian men in the center of the photograph. Signed "Bourne 1205" in the center of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts Cawnpore, the Memorial Well.
Local Numbers:
FSA A1999.17
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: Cawnpore, the Memorial Well, FSA A1999.17. National Museum of Asian Art Archives. Smithsonian Instiution, Washington, D.C.
Identifier:
FSA.A1999.17
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India -- Uttar Pradesh -- Agra
Date:
circa 1860s
Scope and Contents:
One albumen print of the Futtepore Sikri, Tomb of Selim Chisti, circa 1860s. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1265" in the lower right corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the Futtepore Sikri, Tomb of Selim Chisti.
Local Numbers:
FSA A1999.12
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Still Prints of Asia: Futtepore Sikri, Tomb of Selim Chisti, FSA A1999.12. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.12
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
One albumen print, circa 1860s-1880s, depicting Sacred carved stone angel in Cawnpore, Memorial Well, India. Signed "Bourne 1206 in the lower left corner of image.
Arrangement:
Organized in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, and within a few years, the firm had become the most successful studio in the subcontinent, with their work widely distributed throughout India and in Britain. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography. He was replaced as principal photographer by Colin Murray. Shepherd returned to England in 1879. The firm changed ownership numerous times in the early 20th century and currently operates under the same name in Calcutta -- perhaps the oldest photographic studio still in operation.
Local Numbers:
FSA A1999.08
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints
Citation:
Still Prints of Asia: Cawnpore, Memorial Well, FSA.A1999.08. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.08
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Lucknow (India)
Date:
circa 1860s
Scope and Contents:
One albumen print of the View From the Terrace, Tomb of Zenab Aliya, Lucknow, India, circa 1860s. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1051" in the lower right corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts a View From the Terrace, Tomb of Zenab Aliya, Lucknow, India
Local Numbers:
FSA A1999.13
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: View From the Terrace, Tomb of Zenab Aliya, Lucknow, FSA A1999.13. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.13
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Agra (India)
India -- Uttar Pradesh -- Agra
Date:
circa 1860s
Scope and Contents:
One albumen print of Futtepore Sikri, Interior of Great Quadrangle, circa 1860s. Signed "Bourne 1261" in the lower left corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the Futtepore Sikri, Interior of Great Quadrangle.
Local Numbers:
FSA A1999.09
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: Futtepore Sikri, Interior of Great Quadrangle, FSA A1999.09. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.09
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
73 albumen photo prints, some mounted, many signed and numbered in the negative and some with hadwritten penciled identifications, various sizes. A small number are hand-tinted. Images depict Sri Lanka, Pakistan, Japan and China. Subjects include portraits, people in daily activities, street scenes, city views, architecture, fauna and gardens, and landscapes. Photographers include Scowen & Co., Skeen & Co. and Samuel Bourne. Images depict architectural monuments, city and village views, and picturesque landscapes such as the Great Imambara and Mosque in Lucknow, the quadrangle of the Moti Masjid (Pearl Mosque) in Agra, the Memorial Well in Kanpur (Cawnpore), numerous views of villages, bridges and landscapes in Kashmir, and the botanical gardens at Ootacamund (Udagamandalam). There is also one photograph, an unmounted albumen print, signed and numbered in the negative, by John Edward Saché (active 1860-1880), also depicting a landscape in India. Additionally, an ethnographic portrait (unmounted albumen print) of two Sri Lankan aboriginal men titled "Veddahs" by Charles T. Scowen is included in the collection.
Arrangement:
Four flat boxes.
Biographical / Historical:
British photographer Charles T. Scowen arrived in Ceylon (now Sri Lanka) in the early 1870s, where he was first employed as a clerk. By 1876, Scowen had established a studio, Scowen & Co., in Kandy, with a second location appearing in Columbo by the 1890s. There appear to have been several Scowens working in the studios, as Charles T. Scowen returned to England in 1885. C. Scowen was listed as the proprietor until 1891 and M. Scowen was the proprietor when the firm was finally sold in 1893. Images from Scowen & Co. were used to illustrate a number of books about Ceylon and the tea trade.
Skeen & Co. was a commercial photography studio active in Ceylon (Sri Lanka) from 1860-1903. In 1860, William Skeen, who was the official Government Printer, purchased J. Parting's photography studio in Colombo for his son, William Louis Henry Skeen, who had studied at the London School of Photography. In 1891 another Skeen & Co. studio was opened in Kandy. The firm was known for its images of agriculture (particularly tea and spices), industry (the construction of the Ceylon railroads and the Colombo Breakwater), landscapes and ethnic groups.
John Edward Saché (1824-1882) was an American commercial photographer, born in Prussia as Johann Edvart Zachert. He arrived in Calcutta in 1864 and for the next twenty years traveled widely in northern India, photographing major towns and sites. Saché's first professional association was with W. F. Westfield in Calcutta but he would go on to establish other studios, either alone or in partnerships, in Nainital, Bombay, Lucknow and Benares, among other locations.
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
Local Numbers:
FSA A2002.01
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
1 Print (albumen from wet collodion negative, 24 x 29 cm.)
1 Print (albumen from wet collodion negative, 23 x 29 cm.)
Type:
Collection descriptions
Archival materials
Prints
Photographs
Albumen prints
Place:
Ellora Caves (India)
India
Date:
circa 1870
Scope and Contents:
This collection consists of three photographic prints, mounted on board, by Samuel Bourne: I. Albumen print from wet collodion negative, 24 x 29 cm., circa 1870, signed on the plate with the catalog number 1340. Penciled in the lower right corner "Kutab Minar with the Great Arch and From the West - Delhi". Photo depicts the Qutb Minar at Quwwat al-Islam mosque in Delhi. II. Albumen print from wet collodion negative, 23 x 29 cm., circa 1870. Depicts the Jain temple known as the Court of Indra at the Ellora Caves near Aurangabad in the Indian state of Maharashtra. III. Albumen print from wet collodion negative, 24 x 29 cm., circa 1870. Depicts the Bibi Ka Maqbara (Tomb of Rabia Durrani) in Aurangabad.
Arrangement:
Organized in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
The Qutb Minar in Delhi, India, is the world's tallest brick and stone minaret, standing 72.5 meters high. The structure is one of the earliest examples of Indo-Islamic architecture and was commissioned by India's first Muslim ruler, Qutb-ud-din Aibak, marking the beginning of Muslim rule which would end only with the arrival of the British in the 19th century. Ancient Hindu temples located on the site were torn down and the debris was used in the construction.
The archaeological site known as Ellora is located approximately 19 miles from the city of Aurangabad in the Indian state of Maharashtra. Known for its monumental caves, Ellora is an outstanding example of Indian rock-cut architecture. The 34 "caves" - structures excavated out of the vertical face of the Charanandri hills - are Buddhist, Hindu and Jain rock-cut temples and monasteries, dating from between the 5th century and 10th century.
Bibi Ka Maqbara, which translates as "Tomb of the Lady," is a mausoleum near Aurangabad. Modeled after the Taj Mahal, the Bibi Ka Maqbara was built between 1651 and 1661 by Prince Azam Khan Shah, son of the Mugal Emperor Aurangzeb, in honor his mother Rabia Durani, also known as Dilras Banu Begum.
Local Numbers:
FSA A2001.05
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
London, C. Whiting Beaufort House, Strand, 1868-1875
Scope and Contents:
Photographers represented include J.C.A. Dannenberg, R.H. DeMontmorency, E. Godfrey, W.W. Hooper, H.C. McDonald, J. Mulheran, G. Richter, Shepherd & Robertson (later as Bourne & Shepherd), B. Simpson, B.W. Switzer, H.C.B. Tanner, C.C. Taylor, and J. Waterhouse.
Taken in the 1850s and 1860s, these photographs portray the people of many castes, culture groups, and occupations in India, posed individually and in groups. Indian culture groups portrayed include Bhogta, Bhoti, Chero, Dombo, Gond, Gujarati, Ho, Kachari, Kishangarh, Kota, Lepcha, Mishmi, Munda, Naga, Pahari, Paithan, Rajput, Saora, Singpho, Thakur, Tharu, and Toda. Peoples portrayed are from parts of India and surrounding areas, now in Afghanistan, Burma, Iran and Pakistan, such as Assam, Bareli, Behat, Cachar, Chittagong, Delhi, Hazara, Hisar, Kohat, Lahore, Madras, Munjpur, Mysore, Palamau, Shahabad, Shahjahanpur, Sikkim, and Sind.
Occupations illustrated include barbers, blacksmiths, carpenters, charcoal carriers, farmers, fish vendors, horse dealers, interpreters, landlords, mendicants, merchants, officials, priests, warriors, and water carriers. Activities shown include dancing and knitting. Artifacts and material culture documented include books, buildings, devotional objects, tools, and weapons such as bows, clubs, shields, guns and spears.
Arrangement:
The collection is composed of 8 bound volumes with 470 albumen photoprints mounted alongside text. Photographs are arranged by region, with culture group and region, some also with name and occupation of subjects.
Biographical / Historical:
John Forbes Watson and John William Kaye assembled this ethnologic study collection from photographs made by British photographers in India. The collection documents the caste and culture groups of India for a British India Office multi-volume publication. A graduate of Aberdeen University in England, John Forbes Watson (1827-1892) served as an assistant surgeon in the Bombay Medical Services from 1850 to 1853. While in India, Watson began to research Indian agricultural resources. In 1858, he became reporter on the products of India for the India Office in England. A year later, he became director of the India Office's India Museum, devoted to promoting trade in the British Empire. While there, he published several monographs on Indian plants and textiles. In 1867, he was appointed keeper of the museum, and served in that capacity until he retired in 1879.
John William Kaye (1814-1876) was secretary of the India Office's Political and Secret Department.
Local Numbers:
FSA A1990.03
Provenance:
Purchase 1990 A1990.3
Restrictions:
Collection is open for research.
Genre/Form:
Photographs
Citation:
The People of India. FSA.A1990.03. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C., Purchase.
1 Print (albumen, image, 24 x 29 cm., mounted 31 x 40.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Albumen prints
Photographs
Place:
Srinagar (Jammu and Kashmir, India)
India -- Kashmir -- Dal Lake
Date:
circa 1860s
Scope and Contents:
One albumen print of a nautch bungalow at the Shalimar Garden, Srinagar, India, circa 1860s. With two men next to a pool of water. Signed "Bourne 806" in black ink on bottom right of image. "Nautch Bungalow Shalimar" is inscribed on the board beneath the photograph.
Arrangement:
Organized in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
The Shalimar Gardens were built by the Mughal emperor Jahangir (r.1605-27) for his wife Mehrunissa, called Nur Jahan, in 1616. The gardens were the inspiration for other gardens of the same name, notably the Shalimar Gardens in Lahore, Pakistan. A simple translation of nautch is "dance" or "dancing". The nautch bungalow was likely a residence for the young girls known as "Nautch girls", who performed one of several styles of popular dance known as Nautch. The performance of Nautch rose to prominence during the later period of Mughal Empire, gradually expanding outside the confines of the Imperial Courts.
Local Numbers:
FSA A1998.07
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
One carbon print, circa late 19th or early 20th century, with title, photographers' credit and reference number 2292 in the negative, appearing on the print in white on the lower left and right corners. Depicts a street scene in Bhoondi (probably Bundi), with hills in the background and Indian architecture and people in the foreground.
Arrangement:
One flat box.
Biographical / Historical:
Samuel Bourne and Charles Shepherd were British photographers active in India in the mid-to-late 19th century. Bourne's career began with his arrival in Calcutta in 1863. In Simla, he formed a partnership with two established photographers, Shepherd and Howard (likely William Howard). Howard soon left, and within a few years, Bourne & Shepherd had become the most successful firm in the subcontinent, with their work widely distributed throughout India and in Britain. Two additional studios were opened in Calcutta (1867) and Bombay (1870). Bourne departed in 1870 and was replaced as principal photographer by Colin Murray. Shepherd returned to England in 1879. The firm changed ownership numerous times in the early 20th century and currently operates under the same name in Calcutta -- perhaps the oldest photographic studio still in operation.
Bundi is a district in the state of Rajasthan in northwest India; during the era of British rule, Bundi was a princely state.
Local Numbers:
FSA A1999.31
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Citation:
Still Prints of Asia: Street view in Bhoondi. FSA.A1999.31. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.31
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
5 Prints (albumen, unmounted, images 24 x 28 cm. or smaller.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India -- Social life and customs
India -- Delhi -- Delhi
Date:
circa 1903
Scope and Contents:
Five albumen prints from the studio of Bourne and Shepherd, circa 1903. Each blind stamped "Bourne & Shepherd" in the lower right corner. One print has the inscription "The Delhi Durbar, which took place at Delhi, India. In honor of the crowning of King Edward." written across the top in black ink.
Arrangement:
One oversized folder.
Biographical / Historical:
Samuel Bourne and Charles Shepherd were British photographers active in India in the mid-to-late 19th century. Bourne's career began with his arrival in Calcutta in 1863. In Simla, he formed a partnership with two established photographers, Shepherd and Howard (likely William Howard). Howard soon left, and within a few years, Bourne & Shepherd had become the most successful firm in the subcontinent, with their work widely distributed throughout India and in Britain. Two additional studios were opened in Calcutta (1867) and Bombay (1870). Bourne departed in 1870 and was replaced as principal photographer by Colin Murray. Shepherd returned to England in 1879. The firm changed ownership numerous times in the early 20th century and currently operates under the same name in Calcutta -- perhaps the oldest photographic studio still in operation.
"Durbar" is a Moghul term which came to be applied to the great ceremonial gatherings held in Delhi and other locations during the time of the British Empire, usually for the purpose of showing loyalty to the crown. The Delhi Durbar, translated as "Court of Delhi," refers to three such gatherings held at Coronation Park, Delhi , in 1877, 1903 and 1911, to celebrate the coronation of a new King and Queen of the United Kingdom. Organized by Lord Curzon, the Delhi Durbar of 1903 was by all accounts a truly dazzling two-week spectacle of pomp and pageantry, commemorating the ascension of King Edward VII and Queen Alexandra as Emperor and Empress of India.
Local Numbers:
FSA A1999.04
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints
Citation:
Still Prints of Asia: The Delhi Durbar. FSA.A1999.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.04
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
One albumen print, circa 1860s-1880s, depicting The Fort, Agra with Taj in Distance, India. Signed "Bourne 1221 in the lower left corner of image.
Arrangement:
Organized in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, and within a few years, the firm had become the most successful studio in the subcontinent, with their work widely distributed throughout India and in Britain. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography. He was replaced as principal photographer by Colin Murray. Shepherd returned to England in 1879. The firm changed ownership numerous times in the early 20th century and currently operates under the same name in Calcutta -- perhaps the oldest photographic studio still in operation.
This photograph depicts The Fort, Agra with Taj in Distance.
Local Numbers:
FSA A1999.16
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints
Citation:
Still Prints of Asia: The Fort, Agra with Taj in Distance. FSA.A1999.16. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.16
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 2
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India
Jammu and Kashmir (India)
Date:
circa 1860s
Scope and Contents:
One albumen print of Kashmir, View on the Canal (Prize Winning Photograph), circa 1860s. View from an angle with Indian man in the left of the photograph. Signed "Bourne 825" in the lower center of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts a Kashmir, View on the Canal (Prize Winning Photograph).
Local Numbers:
FSA A1999.21
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: Kashmir, View on the Canal (Prize Winning Photograph). FSA.A1999.21. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.21
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
2 Prints (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 2
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India
Darjeeling (Bengal, India)
Date:
circa 1860s
Scope and Contents:
One albumen print of the Darjeeling Tea Factory, women cleaning tea in factory ; Darjeeling Frost, Darjeeling, Tree Study at fantakphu, circa 1860s.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts a Darjeeling Tea Factory and Darjeeling Frost.
Local Numbers:
FSA A1999.23
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Albumen prints -- 1860-1880
Citation:
Still Prints of Asia: Darjeeling Tea Factory and Darjeeling Frost. FSA.A1999.23. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.23
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Agra (India)
India -- Uttar Pradesh -- Agra
Date:
circa 1860s
Scope and Contents:
One albumen print of the mausoleum of Prince Etmad-Dowlach (Agra, India), circa 1860s. View from top from with a few gentlemen to the side. Signed "Bourne 1232" in the center of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the tomb of Mirza Ghiyas Beg, located in Agra, India. An important official of the Mughal empire. Ghiyas Beg served as the chief treasurer during the rule of Emperor Jahangir, and was given the title I'timād-ud-Daulah (i.e. Etmad-Dowlach), or Pillar of the State. The tomb, which is considered an architectural predecessor of the Taj Mahal, was commissioned by Nur Jahan, Ghiyas Beg's daughter and the wife of Jahangir.
Local Numbers:
FSA A1999.10
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Still Prints of Asia: Mausoleum of Prince Etmad-Dowlach, Agra. FSA.A1999.10. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.10
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 23 x 29 cm., mounted 31 x 40 cm.)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
India -- Uttar Pradesh -- Agra
Date:
circa 1860s
Scope and Contents:
One albumen print of the Mausoleum of Akbar, Secundra. View from an angle with two Indian men in the center of the photograph. Signed "Bourne 1250" in the lower right corner of the image.
Arrangement:
One folder in one flat box.
Biographical / Historical:
Samuel Bourne (1834-1912) had already begun to earn recognition for his work in England, having exhibited at the London International Exhibition of 1862, when he decided to give up his position in a bank and depart for India to work as a professional photographer. He arrived in Calcutta early in 1863, initially setting up a partnership with William Howard. They moved up to Simla, where they established a new studio Howard & Bourne, to be joined in 1864 by Charles Shepherd, to form Howard, Bourne & Shepherd. By 1866, after the departure of Howard, it became Bourne & Shepherd, the name under which the firm continues to operate to this day. Although Bourne only spent 6 years in India, his time there was extremely productive. He undertook three major expeditions in the Himalayas, creating an impressive body of work which combined the highest technical quality and a keen artistic eye, while working under difficult physical conditions. Bourne left India for good in 1870, selling his interest in Bourne & Shepherd shortly thereafter and abandoning commercial photography.
This photograph depicts the Mausoleum of Akbar, Secundra.
Local Numbers:
FSA A1999.11
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
