1 Print (albumen, image 23 x 29 cm., mounted 38 x 41 cm.)
Container:
Box 3
Box 4
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Lucknow (India)
Lucknow (India) -- History -- Siege, 1857
India -- Uttar Pradesh -- Lucknow
Date:
1858
Scope and Contents:
One albumen print by Felix Beato, mounted on card, with "Residency" inscribed in black ink below the print. View of the shelled remains of the Residency in Lucknow, with two men sitting in the foreground, circa 1858.
Arrangement:
One flat box.
Biographical / Historical:
Although he was born in Greece, Felice Beato worked as a press photographer in England and achieved recognition for his coverage of British political conflicts, photographing the Crimean War of 1855 and, together with his brother-in-law, James Robertson, the 1858 Indian Mutiny in Delhi and Lucknow. The images Beato took during this time are thought to be the first to depict actual human corpses on the battlefield. After moving to Yokohama in 1863, Beato opened the area's first photography studio and documented the people and culture of Japan for the next twenty years, taking photographs and selling them to tourists. During his travels, Beato was able to gain access to Japanese ports that were open only to diplomats by acting as an official photographer for the British navy.
Lucknow was the capital of the former state of Oudh (now spelt Awadh, and a region in the state of Uttar Pradesh), in India. The prolonged defense there by the British proved to be one of the key episodes in the unsuccessful Indian Rebellion of 1857-1858.
Local Numbers:
FSA A1999.28
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 Residency, Lucknow. FSA.A1999.28. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.28
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Catalog of 14 photographs of Lang Jingshan to commemorate the centenary of Daguerre, sponsored by l'Association Photographique de l'Université l'Aurore, Shanghai, 1939. Fourteen monochrome photographs and one color print; forward by Lang, dated October 10, 1939. Also includes brief notes of appreciation by John C. Ferguson; J. Hernault S.J.; Hsia Ching-Kwen (Xia Jingguan) and Chen Chuan-Lin (Chen Zhuanlin).
郎靜山
Exhibition of Pictorial Photography, by Chin-san Long
Biographical / Historical:
Lang Jingshan was a pioneering Chinese photographer active from the 1920s until his death in 1995. He is most noted for incorporating Chinese traditional painting styles and themes into his photographs. He also was noted for exploring modernist subjects and techniques such as 'composite photography' and nudes.
Admission tickets and sales profits from this 1939 exhibition were donated to purchase medical photography equipment and for refugees of the Japanese invasion of China.
Local Numbers:
FSA A1999.33 3.10.1
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Genre/Form:
Photographs
Collection Citation:
John Calvin Ferguson Family Papers, FSA A1999.33. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D. C. Gift of Peter Ferguson.
Sponsor:
Funding for the processing of this collection was provided by the
Smithsonian Institution Collections Care and Preservation Fund.
151 commercial stereographs depicting scenes of South Asia. Sources include Underwood and Underwood Publishers; Ricalton; H.C. White Co.; American Stereoscopic Co. and Keystone View Co. Collectively this is a nearly complete complement of photographs of India taken by James Ricalton.
Local Numbers:
E591
FSA A2014.06 2.S
Collection Restrictions:
Collection is open for research.
Genre/Form:
Stereoscopic photographs
Stereographs
Collection Citation:
Robert J. Del Bonta Collection, FSA A2014.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
1 Print (albumen, image 26 x 30 cm., mounted 38 x 41 cm.)
Container:
Box 3
Box 4
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Lucknow (India)
Lucknow (India) -- History -- Siege, 1857
Sikandar Garden (Lucknow, India)
India -- Uttar Pradesh -- Lucknow
Date:
circa 1858
Scope and Contents:
One albumen print by Felix Beato, mounted on card, with "Lucknow. Inside the Secunderabagh Shewing [sic] where 2600 Sepoys were Killed" inscribed in black ink below the print. View taken circa 1858 of the interior of the Sikandar Garden, with skeletal remains strewn across the grounds.
Arrangement:
One flat box.
Biographical / Historical:
Although he was born in Greece, Felice Beato worked as a press photographer in England and achieved recognition for his coverage of British political conflicts, photographing the Crimean War of 1855 and, together with his brother-in-law, James Robertson, the 1858 Indian Mutiny in Delhi and Lucknow. After moving to Yokohama in 1863, Beato opened the area's first photography studio and documented the people and culture of Japan for the next twenty years, taking photographs and selling them to tourists. During his travels, Beato was able to gain access to Japanese ports that were open only to diplomats by acting as an official photographer for the British navy.
The Sikandar Garden is a villa and garden complex located on the outskirts of Lucknow, which was the capital of the former state of Oudh (now spelt Awadh, and a region in the state of Uttar Pradesh), in India. The prolonged defense in Lucknow by the British proved to be one of the key episodes in the unsuccessful Indian Rebellion of 1857-1858. During the siege of the city, the Sikandar (or Secundra) Garden was used as a refuge by hundreds of sepoys who were under attack by British troops. On November 16, 1857, the villa was overrun and approximately 2000 sepoys were killed. After the fighting, the British dead were buried in a deep trench but the Indian dead were left to rot. In early 1858 Beato took this well-known photograph, possibly the first photographic depiction of human corpses, although there is some controversy over whether he had some of the corpses disinterred for dramatic effect.
Local Numbers:
FSA A1999.27
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: Inside the Secunderabagh, Lucknow, FSA A1999.27. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.27
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
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.
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
The Elizabeth Moynihan Collection, FSA A2013.06. National Museum of Asian Art. Smithsonian Institution, Washington, D.C. Gift of Elizabeth Moynihan, 2013.
Rouse, G. H. (George Henry), 1838-1909 Search this
Extent:
1 Volume (50 leaves of tipped-in albumen prints, 58 p, 25 x 17 cm.)
Type:
Collection descriptions
Archival materials
Volumes
Albumen prints
Books
Place:
Lucknow (India)
India -- Uttar Pradesh -- Lucknow
Date:
Calcutta :, Baptist Mission Press,, 1874
Scope and Contents:
A published pictorial guide with illustrations of the city of Lucknow, India. In its ideal state, the volume contained 50 tipped-in albumen prints, accompanied by full textual descriptions of each scene depicted, along with a large-sized plan of the city executed by Parogha Ubbas Alli, Assistant Municipal Engineer, who may have been the photographer. Created in part as a memorial to the Garrison of Lucknow and survivors of the Indian Rebellion of 1857-1858 and dedicated to Sir George Couper, Chief Commissioner of Oudh.
Arrangement:
One volume Stored in one box.
Biographical / Historical:
George Henry Rouse was an English Baptist missionary and Bible translator in India. Born in Suffolk, Rouse became a Baptist at the age of 16, completing his education at Stepney (now Regent's Park) College and London University. In 1861, he journeyed to Calcutta as a missionary for the Baptist Missionary Society, but ill health forced his return to England, where he took up a teaching position at Haverfordwest Baptist College from 1867-1872. He later returned to India as the secretary of the Baptist Indian Mission and the head of the Baptist Mission Press.
Lucknow was the capital of the former state of Oudh (now spelt Awadh, and a region in the state of Uttar Pradesh), in India. The prolonged defense there by the British proved to be one of the key episodes in the unsuccessful Indian Rebellion of 1857-1858.
Local Numbers:
FSA A1997.02
General:
Large 8vo., beveled edges, brown hexagon-grain cloth with gilt title on front cover, blind stamping on front and back. Imperfect; wanting the plan.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Albumen prints -- 1860-1880
Books
Citation:
The Lucknow Album. Printed by G.H. Rouse. FSA.A1997.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1997.02
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
1 Print (albumen, image 24 x 29 cm., mounted 38 x 41 cm.)
Container:
Box 3
Type:
Collection descriptions
Archival materials
Prints
Prints
Photographs
Albumen prints
Place:
Lucknow (India)
Lucknow (India) -- History -- Siege, 1857
India -- Uttar Padesh -- Lucknow
Date:
1858
Scope and Contents:
One albumen print by Felix Beato, mounted on card, with "Alumbagh near Lucknow 1857-8" lightly inscribed in pencil below the print. View of the Alumbagh (or Alambagh) palace and surrounding entrenchments, circa 1858.
Arrangement:
One flat box.
Biographical / Historical:
Although he was born in Greece, Felice Beato worked as a press photographer in England and achieved recognition for his coverage of British political conflicts, photographing the Crimean War of 1855 and, together with his brother-in-law, James Robertson, the 1858 Indian Mutiny in Delhi and Lucknow. The images Beato took during this time are thought to be the first to depict actual human corpses on the battlefield. After moving to Yokohama in 1863, Beato opened the area's first photography studio and documented the people and culture of Japan for the next twenty years, taking photographs and selling them to tourists. During his travels, Beato was able to gain access to Japanese ports that were open only to diplomats by acting as an official photographer for the British navy.
Lucknow was the capital of the former state of Oudh (now spelt Awadh, and a region in the state of Uttar Pradesh), in India. The prolonged defense there by the British proved to be one of the key episodes in the unsuccessful Indian Rebellion of 1857-1858. Alumbagh (Alambagh) was a large residence and garden located about 4 miles from Lucknow. It was used as a fort by the rebels and later as the military command for the British.
Local Numbers:
FSA A1999.29
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: Alumbagh, near Lucknow. FSA.A1999.29. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Identifier:
FSA.A1999.29
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Presented by the citizens of Lucknow to their Royal Highnesses the Prince and Princess of Wales December 1905 [on gift label]. [Active no. 8721 : stereo interpositive,]
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
