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Lot 63 Details
Absolute Tuesdays: Hindoostan Photographed 24 November 2020
MAHARARAJA OF...
Albumen print
8.25 x 11.5 in
Winning bid $474 Rs 34,350 (Inclusive of buyer's premium)
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Lot 67 Details
MAHARAJA OF...
Hand-coloured photograph mounted on card
10 x 8 in
Lot 71 Details
PANORAMA OF THE...
6.5 x 22.5 in
Winning bid $639 Rs 46,350 (Inclusive of buyer's premium)
Lot 34 Details
Silver gelatin print mounted on card
14.5 x 11.25 in
Winning bid $491 Rs 35,625 (Inclusive of buyer's premium)
Lot 38 Details
MAHARAJA OF REWA ...
11 x 7.5 in
Winning bid $511 Rs 37,050 (Inclusive of buyer's premium)
Lot 50 Details
MALABAR HILL...
Albumen print mounted on card
9 x 11.5 in
Winning bid $303 Rs 21,981 (Inclusive of buyer's premium)
Lot 53 Details
ESPLANADE ROAD & ...
7.5 x 9.25 in
Winning bid $311 Rs 22,581 (Inclusive of buyer's premium)
Lot 54 Details
HARBOUR SHIPS...
7 x 9.25 in
Winning bid $431 Rs 31,281 (Inclusive of buyer's premium)
Lot 56 Details
A NATIVE STREET, ...
7.5 x 9.75 in
Winning bid $243 Rs 17,631 (Inclusive of buyer's premium)
Lot 57 Details
WATSON'S HOTEL,...
7.5 x 9.5 in
Lot 58 Details
GENERAL VIEW OF...
Winning bid $363 Rs 26,331 (Inclusive of buyer's premium)
Lot 59 Details
THE VICTORIA...
Winning bid $414 Rs 30,000 (Inclusive of buyer's premium)
Lot 60 Details
BOMBAY
a)The Secretariat BombayCirca ...
View Dimensions b)Royal Alfred's Sailor's Home, BombayCirca 1880sAlbumin Print mounted on card 8.5 x 10.7 in (21.5 x 27.1 cm)
Lot 1 Details
Fine 19th Century Photographs of India 9-10 October 2018
NANA SAHEB...
Albumen print on paper
View Dimensions Inscribed "(NANA SAHEB) Taken Prisoner of Gwalior on the 21st October 1874. India" at verso.Nana Sahib, Rani of Jhansi, Tantia Tope and Bahadur Shah Zafar were considered to be the main pillars of Indian Mutiny of 1857. However after the defeat, Nana Sahib vanished mysteriously. This photograph one of its kind changes the entire perception, it shows that Nana Sahib was captured in Gwalior in 1874, contemporary engraving and photographs from other sources have been enclosed to vouch for the authenticity of Nana Sahib Peshwa. Indian Mutiny Photographs and Especially those of Indian Mutiny heroes come up once in a lifetime for sale, as just a handful is known to be in existence.NON-EXPORTABLE
Lot 6 Details
EARLIEST...
Ambrotype on glass
View Dimensions Hand-tinted, rectangle-top ornate gilt mount, interior with embossed maroon velvet pad, a folding leather case, decorative gilt clasp.SIze:Ninth-plate: 2.5 x 2 (6.25 x 5 cm)Overall (case, closed): 3 x 2.5 in (7.5 x 6.25 cm)The ambrotype is a direct positive monochrome photographic process. It is a wet collodion glass plate negative which when viewed against a dark background looks like a positive photograph. The choice of the term "ambrotype", from the Greek "ambrotos" meaning "imperishable" or "immortal", is probably linked to the durability of the glass base.Although the first portraits made using this process were presented by Frederick Scott Archer in 1851, then by Adolphe Martin in 1852 under the name of "amphitype", the process was only patented under this name in 1854 by James Anson [Ambrose] Cutting. The patent states that a collodion direct positive is made on a glass plate hermetically sealed using Canadian balsam resin, a resin from Canadian fir trees.Less expensive to produce than daguerreotypes and requiring shorter exposure times, ambrotypes were regularly used from 1854 up to the 1870s. It especially found favour in the United States, particularly with portrait photographers.To produce the negative part of this unique object, one side of a clean glass plate is covered with a thin layer of collodion containing ammonium or potassium halides (iodide or iodide and bromide). This collodion emulsion is richer in ether than the one used for producing conventional collodion negatives so as to produce a whitish image, making it show up better against the dark background used for viewing it. Dipping in a silver nitrate solution ensures that it will be uniformly sensitive to light prior to exposing the plate when still wet. After development in a nitric acid and iron sulphate developer, sometimes with added silver nitrate, the image is fixed in a bath of sodium thiosulphate or potassium cyanide. Using iron sulphate gives the ambrotype its characteristic creamy tint. After drying, a transparent varnish is applied, and sometimes, additional colour highlights.The dark background against which the negative is placed may be of various kinds: paper, velvet or a varnish made from a base of bitumen of Judea and turpentine.When the background is placed against the glass and not against the emulsion, an impression of depth is formed by the space between the light and dark areas.Then the complete assembly is placed in a frame or case, just like the daguerreotypes that ambrotypes are often confused with. This is because the aesthetic aspects of the two processes are similar, although ambrotypes show less detail.Ambrotypes, comprising a glass base, are fragile objects and may crack, break or even become opaque over time. The collodion emulsion, protective varnish and the dark varnish may also suffer from various alterations due to their nature and how they are preserved. Most common is flaking of the dark varnish, lifting or reticulation of the collodion layer and silver tarnishing. Once the dark background alters, the picture losses its legibility and seem to disappear. Less fragile varieties using different kinds of supports as a thin iron sheet (tintype) or a wax-canvas (pannotype) were developed.Text credit @ Visual glossary of photographic techniques / ARCP / Mairie de Paris, 2013NON-EXPORTABLE
Lot 8 Details
VIEWS OF...
Cyanotype print on paper
View Dimensions Indian Village Ladies and KidsCirca 1900sPhoto Size: 8.6 x 6.5 inches LibraryCirca 1900sPhoto Size: 8 x 6 inchesCyanotype is one of the oldest monochrome processes that do not use silver salts.It is based on the reaction of iron salts to light, and it is a relatively quick, simple, and low-cost approach. A solution of ammonium iron citrate and potassium ferricyanide is applied onto the paper, which is then allowed to dry in a dark place. The print is exposed by contact under the negative. About fifteen minutes of exposure to natural light changes the composition of the iron salts. The paper is then rinsed with water to dissolve the unexposed iron salts, and dried. The characteristic Prussian blue pigment is formed during the drying process.Although invented in 1842 by English scientist John Frederick Herschel, the process did not achieve success until later: its deep, intense blue and pictorial results did not appeal to photographers at the time, who were seeking a more realistic look.It was used at first for essentially documentary purposes, such as copy making, architectural plans, and industrial drawings. In the 1940s-50s, however, it did draw the attention of two main photographers: the English botanist Anna Atkins, who used it to produce photograms of dried plants, and the French artist Henri Le Secq, for his work on the gothic monuments of Paris and his still lifes. The process finally became popular in the late 19th century. It was valued by the pictorialists, particularly Paul Burty Haviland, who were keenly interested in its aesthetic qualities.Today, cyanotype is used by many contemporary artists among whom Nancy Wilson Pajic or Christian Marclay. Text credit @ Visual glossary of photographic techniques / ARCP / Mairie de Paris, 2013NON-EXPORTABLE
Lot 33 Details
DEENDAYAL AND...
Silver gelatin print on paper
View Dimensions Young Married Princely CoupleSilver Gelatin printCirca 1900sPhoto Size: 14.5 x 11 inchesYoung Prince, In Full Royal AttireSilver Gelatin printPhoto Size: 7.6 x 5.5 inchesDeendayal: Maharaja of Ajaigarh with his 3 sons, BundelkhandAlbumen print1882 Photo Size: 10 x 6.6 inchesA Young Prince with his two attendantsAlbumen printCirca 1880s, Photo Size: 7.6 x 5.6 inchesYoung PrinceSilver Gelatin printEOS Studios BombayCirca 1920sPhoto Size: 7.5 x 5.5 inchesIndian Maharaja Horse Back with GunSilver Gelatin printCirca 1900sPhoto Size: 8.2 x 6 inchesQueen Victoria, Inset With Several Portraits of Rich Gujaratis, along with Diwan on KutchAlbumen printCirca 1870sPhoto Size: 8.25 x 6 inchesH.H.Thakor Sahib of Kutch, Portrait, Within Decorated MotifsAlbumen printPhoto Size: 8.5 x 6 inchesNON-EXPORTABLE
Winning bid $1,104 Rs 80,040 (Inclusive of buyer's premium)
REWA STATE...
View Dimensions Young Prince on Tiger SkinSilver Gelatin printCirca 1900sPhoto Size: 11.6 x 8 inchesMaharaja of Rewa, With Another RulerSilver Gelatin printCirca 1900sPhoto Size: 8.6 X 9.8 inchesPortrait of Maharaja of Rewa Silver Gelatin printPhoto Size: 10 x 8.25 inchesMaharaja Gulab Singhjee SahibSilver Gelatin printCirca 1917Photo Size: 9.6 x 11 inchesGobindgarhAlbumen printCirca 1890sPhoto Size: 11 x 8 inches.br.ArtilleryCirca 1890sPhoto Size: 11.25 x 8 inchesNON-EXPORTABLE
View Dimensions Maharaja of Baroda and MysoreSilver Gelatin printCirca 1900sPhoto Size: 9.6 x 7.6 inchesMaharaja of Baroda with Distinguished British LadiesSilver Gelatin printCirca 1900sPhoto Size: 11.5 x 9 inchesMaharaja of Baroda Hunting TigerSilver Gelatin printCirca 1900sPhoto Size: 9.5 x 7.5 inchesBull Fighting Baroda, Being Viewed by Maharaja of Baroda in a BalconySilver Gelatin printCirca 1900sPhoto Size: 11.25 x 8 inches.br.Maharaja of Baroda being driven in his Royal Carriage with his sonAlbumen printCirca 1890sPhoto Size: 8 x 7 inchesNON-EXPORTABLE
Lot 81 Details
CALCUTTA,...
View Dimensions Photographs of mostly 10 x 12 inchesCirca 1870sHalf leather bound with photographs pasted on paperNON-EXPORTABLE
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