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October 11–December 31, 2011 Yale Center for British Art Introduction October 11–December 31, 2011 Yale Center for British Art introduction Adapting the Eye: An Archive of the British nine-foot painting celebrating the treaty. Wales, Thomas Daniell, Sir in India has been organized to complement in turn, hired assistants to make detailed pre- Charles Warre Malet, Concluding a Treaty in Johan Zoffany RA: Society Observed, the major paratory studies for the picture, including the 1790 in Durbar with the survey exhibition of the career of the polymath British Company soldier and draftsman Robert Peshwa of the Maratha German-born artist Johan Zoffany, on view at Mabon and the Indian painter and sculptor Empire (no. 1, detail) the Center from October 27, 2011 to February 12, Gangaram Chintaman Tambat. Wales died in 2012. Zoffany spent six years in India between India in 1795, leaving the painting unfinished; 1783 and 1789, mainly in Calcutta (present- however, after Malet’s return to Britain three day Kolkata) and Lucknow; the remarkable years later, he commissioned Thomas Daniell portraits, landscapes, and genre paintings he to complete it using the many studies made produced there depict a complex and vibrant by Wales, Mabon, and Gangaram, which are network of relationships between Indian rulers, preserved in the archive along with Wales’s East India Company officials, entrepreneurs, journals. This is the first occasion on which the artists, and servants. Adapting the Eye focuses painting, now in the collection of Tate, London, on a contemporaneous network in western and an impression of the related print, now in India, in the cities of Bombay and Poona the British Library, have been displayed along- (present-day Mumbai and Pune). side the preparatory drawings. At the center of this exhibition is a remark- Malet, Wales, Mabon, and Gangaram able and little-known archive in the Center’s were also deeply immersed in the project collection, comprising over a hundred works on of collecting, categorizing, and publishing paper and related manuscripts assembled by Sir information about their locale, including the Charles Warre Malet, the East India Company’s subjects of landscape, portraiture, flora and Resident in Poona between 1785 and 1798, and fauna, Indian manners and customs, costume, the British artist James Wales. Malet’s brief was and, most notably, architecture, specifically to broker a treaty between the British and the the extraordinary rock-cut cave temples of Maratha ruler, the Peshwa, against Tipu Sultan, Elephanta, Ellora, and Ekvera (present-day ruler of Mysore, a state in southern India. After Karle). The exhibition is structured using the the alliance was successfully concluded, Malet system of categorization adopted by Malet and commissioned Wales to create a monumental, his contemporaries. Research into the archive, with its water- The exhibition has been curated by Holly Shaffer, colors, drawings, jotted notes, and journals, Graduate Research Assistant at the Center and has revealed the fascinating story of a complex PhD candidate in the History of Art at Yale Uni- network of British and Indian patrons. The versity, under the guidance of Gillian Forrester, pivotal figure in this rich cultural interchange the Center’s Curator of Prints and Drawings. was Gangaram, whose distinctive works drew This guide has been authored by Holly Shaffer. on both Indian and European artistic traditions, contradicting the conventional art-historical construct of the Indian “Company” artist as the passive instrument of the British coloniz- ers. An extensive selection of drawings from the archive, complemented by other works from the Center’s collections, provides a unique window into western India at a critical historical moment and explores this new intercultural model of British artistic production in India. Since the exhibition is historical in scope, place-names that were in use by the British in India in the eighteenth and nineteenth cen- turies are used throughout. The first time an historical place-name is used it will be accom- panied by the present-day name in parentheses, e.g., Calcutta (Kolkata). Historical inscriptions on the works have been used as titles. Delhi oudh Agra (Avadh) Lucknow Patna bihar bengal Calcutta (Kolkata) Surat Ellora deccan Bombay Ekvera (Karle) (Mumbai) Poona (Pune) Hyderabad bay of bengal India in 1790 arabian sea Present-day names in parentheses Madras (Chennai) Nizam’s territories Seringapatam Mysore (Srirangapatna) Tipu Sultan’s territories Maratha Confederacy carnatic Rajput territories travancore Territories under British influence British territories who’s who in the archive Sir Charles Warre Malet (1753–1815) James Forbes (1749–1819) The East India Company official Sir Charles The East India Company official and naturalist Warre Malet served as Resident, first at Cambay James Forbes was a close friend of Charles from 1774 to 1785, and then at the Maratha Warre Malet, whom he probably met in Cambay court in Poona between 1785 and 1798. He in 1775, when he visited in his capacity as the returned to England in 1798 with James secretary to Colonel Thomas Keating. Forbes Wales’s daughter Susanna, whom he married dedicated his Oriental Memoirs (1813–15) to his the following year. Malet brokered the 1790 “kind friend” Malet. During his nearly twenty- treaty between the Maratha Peshwa and the year residence in western India between 1765 British against Tipu Sultan, the ruler of Mysore. and 1784, Forbes drew assiduously, collected Malet invited James Wales to Poona, where works of art, and wrote frequent, detailed the artist painted portraits of the Marathas at letters to his family in England. After his the Peshwa’s request, and Malet commissioned return to England, Forbes commissioned him to paint a large-scale history painting James Wales to adapt his drawings of the cave commemorating the treaty. Though engaged temples at Elephanta and a banyan tree into with politics, Malet also had a keen interest two oil paintings that were exhibited at the in architecture. He hired the Indian artist Royal Academy in 1785 and 1787 respectively, and sculptor Gangaram Chintaman Tambat and engraved by James Phillips in 1790. This to draw the cave temples at Ekvera and Ellora, commission may have motivated Wales to travel among other subjects. Malet illustrated his to India and perhaps specifically to Bombay, “Description of the Caves or Excavations, on the with the objective of recording the region’s mountain, about a mile to the eastward of the cave temples; Forbes also may have introduced town of Ellore” published in Asiatick Researches Wales to Malet. 6 (Calcutta, 1801), with engravings after Gangaram’s watercolors. James Wales (1747–1795) Gangaram Chintaman Tambat (active 1790s) The self-taught British artist James Wales Charles Warre Malet employed the “very inge- arrived in Bombay in 1791, and immediately nious” painter and sculptor Gangaram Chinta- began to work on a series of “Picturesque man Tambat in the 1790s to draw the local life, Prospects” of the city, for which he hired Robert architecture, and landscape of Poona and the Mabon, an East India Company soldier and surrounding region. Gangaram was probably draftsman, as an assistant. He published this trained in the local artistic tradition in Poona project in 1795 as Views of the island of Bombay and received further instruction from Malet and its vicinity. In June of 1792, Charles Warre and Wales in the European techniques of linear Malet called Wales to Poona to paint portraits perspective, the use of a camera obscura, and and history paintings, and Mabon accompanied architectural draftsmanship. His most spec- him. Wales, like Forbes and Malet, had an tacular works include watercolors of the cave interest in cave temples, and in his journal he temples of Ekvera and Ellora. Gangaram also describes a proposed publication called “Indian made technical drawings and small sculptures Unknown artist, Antiquities,” which would “contain every of animals, possibly those in the Maratha A Fool Named Gungarum (no. 106) excavated work worthy of attention on the Peshwa’s menagerie, and a series of studies of West side of India.” He hired several assistants, athletes and ascetics. Though little is known both British and Indian, including Mabon and of his life, Wales’s scant notes about Gangaram, Gangaram Chintaman Tambat, for this project. together with his portrait and that of his guru Unfortunately Wales died from the “Putrid in the archive, suggest that he had consider- air” inhaled while sketching the cave temples able intellectual curiosity and may also have of Salsette before he could finish “Indian belonged to an ascetic order. Antiquities,” and Malet commissioned the artist Thomas Daniell to complete it for publication. 7 Robert Mabon (active 1790s) sentence in his spare journal in the archive is suggestive: “Awaked in the morning with The East India Company soldier and talented a violent headach—felt uneasy and restless draftsman Robert Mabon began to work for fearing that disagreeable circumstance which James Wales in 1792 in Bombay and traveled brought me to India.” After Wales’s death, with him to Poona as an assistant. Mabon Mabon moved to Calcutta and published prepared detailed sketches for Wales’s three Sketches Illustrative of Oriental Manners and main projects: views of Bombay, portraits and Customs (Calcutta, 1797). history paintings of the Marathas, and the cave Thomas Daniell, Sir temples of western India. Wales must have Thomas Daniell (1749–1840) Charles Warre Malet, valued Mabon as a draftsman, since he paid Concluding a Treaty in two hundred rupees to have another soldier The landscape painter and printmaker Thomas 1790 in Durbar with the Peshwa of the Maratha replace Mabon in the army; however, we know Daniell arrived in Calcutta in 1786, with Empire (no. 1) little about his background. A single enigmatic his nephew and assistant, William Daniell (1769–1837). Utilizing a camera obscura and a copy of William Hodges’s Select Views in India (1785–88), they traveled throughout India for nearly ten years, recording the landscape and architecture.
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