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Lot No. 23: DANIELL, THOMAS & WILLIAM DANIELL

ORIENTAL SCENERY

Medium: Printed Books
Year: 1812-16
Size: 14.7 x 11 inches
Place: London

Winning Bid : ₹ 72,60,000

(Inclusive Buyer's Premium)

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30,00,000 - 50,00,000

Estimate US$

36000-60000

Ends at Oct 17, 2024 07:28 PM IST

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Total : 5 bids | Next 5 valid bids | 20% Buyer's Premium | Additional Charges | Comparable

DANIELL, THOMAS & WILLIAM DANIELL

ORIENTAL SCENERY

VIEWS OF THE ARCHITECTURE, ANTIQUES AND LANDSCAPE SCENERY OF HINDOOSTAN [PART I TO V] AND HINDOO EXCAVATIONS IN THE MOUNTAIN OF ELLORA [PART VI].
Six parts in 3 Volumes

6 additional pictorial Sepia aquatint titles and 144 Sepia aquatint views

year: 1812-16

Size: 37.5 x 28 cm (14.7 x 11 inches)

Published by: Printed for Thomas and William Daniell at the Free-School Press and published by William Daniell and Longman, Hurst, Rees, Orme and Brown. 1812-16.
Oblong Small Folio, Six parts in 3 Volume, text pages before each part giving details of the plates, 6 additional pictorial Sepia aquatint titles, 144 Sepia aquatint views.

Publishers Original / Contemporary half green leather binding over marbled boards, extensive decoration and title in gilt on spine.

Thomas and his nephew William Daniell are best known for their paintings and topographical prints of Indian landscapes.

Like many other Europeans artist Daniells were also drawn to India by stories of the wealth and fame that awaited travelers to the newly accessible East. Thomas Daniell gained permission from the East India Company in 1784 to travel to Calcutta as an engraver, with William Daniell as his assistant. They spend nine years traversing India, drawing and recording views and sites meticulously. Williams journal reveals that the pair made use of a camera obscura, an optical device used as an aid in drawing which reduced the time it took to sketch a scene and increased the realism of their work. Daniells were aware that William Hodges had published his Select Views of India (1785-88) and was eager to ensure that their series of prints exceeded those of Hodges in terms of accuracy and content.
On their return to London in 1794 they worked up oil paintings from sketches made in India and also set about to produce one of the finest, most ambitious, most influential & most impressive series of aquatints entitled 'Oriental Scenery', published from 1795 to 1815 in six large folio volumes The set surpasses many of the earlier publications of this kind. Each volume contained twenty-four aquatints of Indian scenes which were hand-coloured to look like the water-colour original. The technique was new and complex and Daniells experimentation and success with it made him one of the earliest pioneers of aquatint. Oriental Scenery made 'a completely new contribution to British knowledge of India' (Archer, p.222). In addition to views familiar to early travellers are those made by Europeans for the first time, such as in the Ellora Caves, Garwhal mountains, and even the views of Madras are the first made by Europeans on the spot. The large views show the technical superiority of aquatint in conveying the grandeur of the views; this can been seen specifically in the huge folding panorama of The Mountain of Ellora (1st, 2nd and 3rd view).
Daniells tapped a vein of nostalgia among colonial administrators, curiosity among European travellers (both active and armchair), and pride among the British for victorious military campaigns there. Their classical style of composition and use of a camera obscura ensured an unrivalled accuracy, which in turn facilitated the work's influence on other spheres of European art: Scenes appeared on Staffordshire blue-and-white pottery and wallpapers produced by Zuber at Mulhouse and Dufour at Macon. The Daniells inspired architecture either directly or indirectly, ranging from a folly at Melchet Park to the grand country house and landscape gardens of Sezincote, and, through patrons such as Thomas Hope, their influence was also evident in furniture design. Humphry Repton (1752-1818) used one of Daniells aquatints of sandstone temples as the basis for a design for an aviary for the Royal Pavilion at Brighton in 1806.
Whilst Hodges 'Select Views in India' was a commercial failure, 'Oriental Scenery' reached a much wider audience and brought Thomas and William great success.

Provenance : Collection of a Gentleman

Good Condition

	Nickname	Amount(Rs)	Type	Date & Time(IST)
1	anon0350	6050000.00	Regular	17-10-2024 06:10:30 PM IST
2	anon0174	5500000.00	Regular	17-10-2024 06:10:34 PM IST
3	anon0119	5000000.00	Regular	17-10-2024 06:10:34 PM IST
4	anon0174	3267000.00	Regular	17-10-2024 06:10:15 PM IST
5	anon0114	2970000.00	Regular	17-10-2024 04:10:56 PM IST

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Lot No. 23: DANIELL, THOMAS & WILLIAM DANIELL

ORIENTAL SCENERY

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DANIELL, THOMAS & WILLIAM DANIELL

ORIENTAL SCENERY

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