Shipment charges are calculated based on the location of the artwork.

The temple depicted in print (a) is located in Kunkhul, a small town in Northern India that appears on the route to Haridwar, one of the four major sites of Hindu pilgrimage. Kunkhul also happens to a pilgrimage site, that overlooks the Ganges River. It consists of many temples, and ghats (stations by the bank of the river where religious ceremonies and rituals take place, with long steps leading into the river).

Print (b) represents the Muktagiri Siddha Kshetra Temple, a Jain pilgrimage site located near the border of Madhya Pradesh and Maharashtra, situated in the lap of the 'Satpuda' Mountain range. It is also known by another name, 'Mendhagiri' or ' Medhrgiri'. According to ancient sacred texts, Muktagiri is place of attainment of Nirvana. Numerous saints have said to have mediated here and attained salvation. There are fifty two temples in the same area surrounding a scenic waterfall.

T. Bacon went out to India in 1831, returning in 1836. He held a commission as a Second Lieutenant in the Bengal horse artillery from 2 Nov. 1835 - 1838. His impressions of India were recorded in the text and sketches of his book First Impressions and studies from nature in Hindustan. It was published in London in 1837. His travels took him up the Ganges and as far as Delhi and the Himalayas.

Gokul represented in print (c) is in the North Indian state of Uttar Pradesh, and is religiously significant as it is the place where Lord Krishna spent his childhood. Many shrines and temples were built upon the sites where he spent a lot of his time or performed godly acts. The city is on the Yamuna River, upon which the temple and ghat depicted were built.

Mahadev Mountain peak lies near the capital city (Srinagar) of Indian Administered Kashmir, behind the famous Zabarwan Mountains near Dal Lake. It can be climbed from many routes. Tarsar and Marsar lakes lie on the eastern side of this Mountain. It is home to the temple of Shiva depicted in print (d), and was visible from almost all parts of Srinagar.

a) Ancient Temple at Kunkhul. With a Madrissa or Ancient College in the Background; A. Fullarton & co. London & Edinburgh; by D. Roberts, E.Finden
b) Jain Temples, Muktagerri. (Specimens of Hindu Architecture), Temlau Iainaidd, Muktagerri (Cynnrychion O Adeiladaeth Hindwaidd), A. Fullarton & co. London & Edinburgh; by H. Warre; Finden
c) Ghaut and Temple at Gokul, A. Fullarton & co. London & Edinburgh; Drawn by D. Roberts from a sketch by T. Bacon F.S.A; Engraved by R. Wallis
d) Exterior of Hindoo Temple. Topes or Temples of Mahdeo in the Sibalic Mountains, A. Fullarton & co. London & Edinburg; Drawn by T.C. Dibden from a sketch by T. Bacon F.S.A., Engraved by E. Finden

These prints are in good condition. The prints have survived several decades and may show some signs of wear and tear. This does not in any way detract from their beauty or value.

These items are sold unframed. They are available for viewing in Saffronart's London gallery.

About Poems in Print: People and Places of India

The fusion of romanticism and documentation is exhibited in this new collection of 18th – 19th century British prints of colonial India. Illustrated from an Oriental perspective, these prints served as valuable displays or notes of observations that were forming through the discovery of a vast and newly conquered India. While they were incredibly useful for purposes of documentation, they also evoked a romantic sense of adventure that is usually associated with Orientalism.

A diverse group of artists are represented in the collection, both amateur and established artists are included, while some came from military backgrounds, others were skilled print makers and engravers. Each provided a unique perspective on their discoveries of and fascination with the people and places of India. A few of the artists represented include William Daniell, John Luard, Charles Gold, and Thomas Bacon. Most prints were based on sketches that were made during their travels, and printed as artworks, while others were published in British Newspapers such as The Illustrated London News. Others were used for more academic purposes, such as those made for the Journal of the Royal Asiatic Society of Bengal. The publishing and distribution of all these prints had one unified result, which was to establish an image of India with the people of Britain, and Europe at large, thus whether they were intended to or not they became instrumental in creating perceptions and notions of what India was.

Thus the historical value of these works lie in their representation of an 18th and 19th century India, as well as the educative role they fulfilled in informing all those who were unable to see India for themselves. While their artistic value lies in the unique aura that each work revels in, each artist managed to convey a romanticism that is evoked through the exploration of the people and places of a new land and culture.