19th Century Indian Company School Architectural Paintings and Pietra Dura Studies
Nineteen Indian Company school architectural paintings and pietra dura studies, 19th century, each very finely painted on European paper (some with watermarks) in gouache and ink, comprising views of Mughal mosques, forts and mausoleums, and detail studies of pietra dura inlays as follows: 1. Tomb of Mumtaz Mahal (no watermark), inscribed in pencil to the reverse 'Tomb of Shah Jehans Queen in the Taj', 7.87 in. high, 9.84 in. wide, 2. Moti Masjid in the red Fort at Agra (no watermark) inscribed in pencil to the reverse 'Motie Masjid in the Agra Fort white Marble', 6.10 in. high, 7.87 in. wide, 3. Gateway of Akbar's tomb, Secundra (watermarked 'T Edmonds 1831'), inscribed in pencil to the reverse 'Gateway at Secundra near Agra', 7.28 in. high, 9.06 in. wide, 4. Interior view of the Taj Mahal (no watermark), inscribed in pencil to the reverse ' inside of the Taj', 9.06 in. high, 7.28 in. wide, 5. A close-up view if the Taj Mahal (watermarked '1828'), inscribed in pencil to the reverse 'Taj as seen from the Gateway /unread/', 7.48 in. high, 9.25 in. wide, 6. Salim Chishti's Mazar at Fatehpur Sikri (no watermark), inscribed in pencil to the reverse 'Tomb of Sheikh Salim Chishtee at Fatteepoor Siccree', 7.09 in. high, 8.66 in. wide, 7. Khas Mahal at the Agra Fort (no watermark), inscribed in pencil to the reverse 'Council chamber in the Agra Fort white Marble', 7.09 in. high, 8.86 in. wide, 8. The Taj Mahal with garden from the entrance (no watermark), inscribed in pencil to the reverse 'Taj from the Entrance', 7.28 in. high, 8.86 in. wide, 9. Tomb of I'timad-ud-Daulah (watermarked '1828'), inscribed to the reverse 'Tomb of Latimad ood Doulu', 7.48 in. high, 9.15 in. wide, 10. The Delhi gate at Agra Fort (watermarked '1832'), inscribed in pencil to the reverse 'The Fort at Agra', 7.28 in. high, 9.06 in. wide, 11. And 12. Pietra dura studies (both watermarked 'Edward Lay 1829'), both 7.09 in. x 8.86 in., 13. And 14. Pietra dura studies (one watermarked 'J Tho...18...', the other '...Omas...28' (the two cut from the same paper)), both 7.09 in. high, 4.72 in. wide, 15. And 16. Pietra dura studies (no watermarks), both 7.09 in. high, 4.53 in. wide, 17. And 18. Pietra dura studies (no watermarks), both approximately 8.66 in. high, 4.33 in. wide, and, 19. Pietra dura study (watermarked 'Edward Lay 1829'), 7.09 in. high, 5.51 in. wide. Provenance: Ethel St John-Clarke (1880-1964) collection. Given by Miss St John-Clarke to the vendor's mother, and thence by descent. Other Notes: Ethel St John-Clarke was an early female graduate of Melbourne University in 1904. During World War I she served in Queen Mary's Woman's Royal army Corps in England until 1919, and subsequently worked in India, Palestine and then Australia before returning to India in 1927. In 1930 it was announced that she had been appointed by the Government of India to the office of guardian of the three orphan daughters of the late Maharaja of Bharatpur. In this position she reported to lady Irwin, wife of Lord Irwin, the Viceroy of India. It was during this period of guardianship that this group of Company school pictures was acquired.
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- Pietra Dura / Florentine Mosaic - Pietre dura, also known in English as "Florentine mosaic" is a decorative art that originated in Renaissance Italy and involves the creation of intricate, multi-layered inlaid designs using a variety of different coloured stones. The name "pietre dura" is Italian for "hard stones," and refers to the use of hard, durable materials such as marble, agate, jasper, and other semiprecious stones in the creation of the designs.
The origin of pietre dura can be traced back to ancient Rome, where the technique was used to create intricate inlaid designs for mosaic floors, walls, and other architectural elements. During the Renaissance, the technique was revitalized in Italy and became particularly associated with the city of Florence. The court of the Grand Duke of Tuscany, Cosimo I de' Medici, was a major patron of pietre dura and employed many of the leading artists and craftsmen of the time to create a wide range of objects, from small items like jewelry boxes and vases to large panels and furniture.
In the 19th century, pietre dura was used to create a wide range of decorative objects, from furniture and decorative panels to small items like jewelry boxes, vases, and picture frames. During this time, the technique was particularly popular in Europe, where it was used to create elaborate pieces of furniture and other decorative objects for the wealthy and aristocratic classes.
In addition to traditional pietre dura objects like cabinets, tables, and vases, the 19th century saw the development of new forms of pietre dura, such as book covers, cigar boxes, and other small items. This was largely due to the advent of new, more affordable production techniques and materials, which allowed for the creation of pietre dura objects on a larger scale and at a lower cost.
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